BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Santa Rosa Symphony - ECPv6.15.18//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Santa Rosa Symphony X-ORIGINAL-URL:https://www.srsymphony.org X-WR-CALDESC:Events for Santa Rosa Symphony REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Los_Angeles BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20230312T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20231105T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20240310T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20241103T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20250309T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20251102T090000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20230207T170744Z LAST-MODIFIED:20240119T215726Z UID:24908-1705536000-1705536000@www.srsymphony.org SUMMARY:DYO & AYO - Postcards from Europe DESCRIPTION:Program\n\n\n\nHenry Purcell\, Arr. Bob Phillips: RigaudonF. Richardson\, Arr. Wolfgang Kuhn: irishe Ho-HoaneGeorges Bizet\, Arr. Richard Meyer: aragonaise from “carmen”W.A. Mozart\, Arr. Jamin Hoffman: amadeus! from Symphony No. 25George Gershwin\, Arr. Jerry Brubaker: an American in ParisVittorio Monti\, Arr. Kirt N. Mosier: csardasCamille Saint-Saã‹ns\, Arr. Merle J. Isaac: dance MacabreNikolai Rimsky-Korsakov\, Arr. Richard Meyer: capriccio Espagnol \n\n\n\nTickets\n\n\n\nBefore the Concert: (price valid until April 21\, 2023 at 11 am) Advance ticket sales are turned off at noon on the Friday before.$5 – Youth$15 – Adult$10 – Group (10+) available by phone only (707) 546-8742 \n\n\n\nAfter April 21\, 2023 at 11 am and at the door$10 – Youth$20 – AdultGroup tickets are not available at the door. \n\n\n\n\nTickets are nonrefundable and subject to availability.\n\n\n\n$2 ticket fee applies.\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice.\n\n\n\n\nQuestions? Please call Patron Services at (707) 546-8742 \n\n\n\nPhotos by Susan and Neil Silverman Photography \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels URL:https://www.srsymphony.org/event/dyo-ayo-postcards-from-europe/ CATEGORIES:Youth Ensemble END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20230207T165103Z LAST-MODIFIED:20240403T211408Z UID:24907-1705536000-1705536000@www.srsymphony.org SUMMARY:YPCO - More Cowbell: Sarah Levy\, the Ultramoderns\, and Arvo Pärt DESCRIPTION:Tickets\n\n\n\nBefore the Concert: (price valid until March 10\, 2023 at 12 noon) Advance ticket web sales are turned off at noon on the Friday before.\n$5 – Youth\n$15 – Adult\n$10 – Group (10+) available by phone only \n\n\n\nAfter March 10\, 2023 at 12 noon and at the door\n$10 – Youth\n$20 – Adult\nGroup tickets are not available at the door. \n\n\n\n\n Tickets are nonrefundable and subject to availability. \n\n\n\n $2 ticket fee applies. \n\n\n\n Programs\, dates\, artists\, and prices are subject to change without notice. \n\n\n\n\n Questions? Please call Patron Services at (707) 546-8742 \n\n\n\nPhotos by Jurgita Mazeika \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels URL:https://www.srsymphony.org/event/ypco-more-cowbell-sarah-levy-the-ultramoderns-and-arvo-pa%c2%a4rt/ CATEGORIES:Youth Ensemble END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20221012T183902Z LAST-MODIFIED:20240119T204144Z UID:24905-1705536000-1705536000@www.srsymphony.org SUMMARY:DYO & AYO - Marches and Dances DESCRIPTION:Program\n\n\n\nMusic from:The Prince of Denmark’s MarchLa Rejouissance from “Royal Fireworks Music” by HandelSelections from Tchaikovsky’s “Nutcracker”Dance of the Tumblers by Rimsky Korsakov…and more! \n\n\n\nTickets\n\n\n\nBefore the Concert: (price valid until November 18\, 2022 at 12 noon) Advance ticket sales are turned off at noon on the Friday before.$5 – Youth$15 – Adult$10 – Group (10+) available by phone only \n\n\n\nAfter November 18\, 2022 at 12 noon and at the door$10 – Youth$20 – AdultGroup tickets are not available at the door. \n\n\n\n\nTickets are nonrefundable and subject to availability.\n\n\n\n$2 ticket fee applies.\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice.\n\n\n\n\nQuestions? Please call Patron Services at (707) 546-8742 \n\n\n\nPhotos by Susan and Neil Silverman Photograph \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels URL:https://www.srsymphony.org/event/dyo-ayo-marches-and-dances/ CATEGORIES:Youth Ensemble END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20221012T181829Z LAST-MODIFIED:20240119T220521Z UID:24904-1705536000-1705536000@www.srsymphony.org SUMMARY:YPCO - In Living Harmony DESCRIPTION:Tickets:\n\n\n\nBefore the Concert: (price valid until November 18\, 2022 at 12 noon) Advance ticket web sales are turned off at noon on the Friday before.$5 – Youth$15 – Adult$10 – Group (10+) available by phone only \n\n\n\nAfter November 18\, 2022 at 12 noon and at the door$10 – Youth$20 – AdultGroup tickets are not available at the door. \n\n\n\n\nTickets are nonrefundable and subject to availability.\n\n\n\n$2 ticket fee applies.\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice.\n\n\n\n\nQuestions? Please call Patron Services at (707) 546-8742 \n\n\n\nPhotos by Jurgita Mazeika \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels URL:https://www.srsymphony.org/event/ypco-in-living-harmony/ CATEGORIES:Youth Ensemble END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20221012T162210Z LAST-MODIFIED:20240209T174606Z UID:24903-1705536000-1705536000@www.srsymphony.org SUMMARY:SRSYO - Danse! DESCRIPTION:Tickets:\n\n\n\nBefore the Concert: (price valid until November 11\, 2022 at 12 noon)$5 – Youth$15 – Adult$10 – Group (10+) available by phone only \n\n\n\nAfter November 11\, 2022 at 12 noon and at the door$10 – Youth$20 – AdultGroup tickets are not available at the door. \n\n\n\n\nTickets are nonrefundable and subject to availability.\n\n\n\n$2 ticket fee applies.\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice.\n\n\n\n\nQuestions? Please call Patron Services at (707) 546-8742 \n\n\n\nPhotos by Jurgita Mazeika \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels URL:https://www.srsymphony.org/event/srsyo-danse/ CATEGORIES:Youth Ensemble END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20220707T200542Z LAST-MODIFIED:20240124T164620Z UID:24902-1705536000-1705536000@www.srsymphony.org SUMMARY:Becoming Mozart DESCRIPTION:Create precious family memories with an afternoon at the Symphony.\n\n\n\nInstrument Petting Zoo\n\n\n\nPre-concert fun for kids of all ages. Come for the FREE Instrument Petting Zoo one hour prior to performances. \n\n\n\nTickets\n\n\n\nTickets are $10/youth and $20/adult \n\n\n\n\nBuy Now!\n\n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:Family Series sponsored by The Alan and Susan Seidenfeld Charitable Trust and Victor and Karen Trione \n\n\n\nPrograms\, dates\, artist and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nPhoto by Susan and Neil Silverman Photography \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels URL:https://www.srsymphony.org/event/becoming-mozart/ CATEGORIES:Family Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20220707T180402Z LAST-MODIFIED:20240126T180938Z UID:24901-1705536000-1705536000@www.srsymphony.org SUMMARY:Beethoven Lives Upstairs DESCRIPTION:Create precious family memories with an afternoon at the Symphony.\n\n\n\n\nClassical Kids Live!\n\n\n\n\n Instrument Petting Zoo\n\n\n\nPre-concert fun for kids of all ages. Come for the FREE Instrument Petting Zoo one hour prior to performances.  \n\n\n\nTickets\n\n\n\n\nBuy Now!\n\n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:Family Series sponsored by The Alan and Susan Seidenfeld Charitable Trust and Victor and Karen Trione \n\n\n\nPrograms\, dates\, artist and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nPhoto by Susan and Neil Silverman Photography \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels URL:https://www.srsymphony.org/event/beethoven-lives-upstairs/ CATEGORIES:Family Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20220506T200112Z LAST-MODIFIED:20240124T160303Z UID:24899-1705536000-1705536000@www.srsymphony.org SUMMARY:E.T. The Extra Terrestrial In Concert DESCRIPTION:Tickets\n\n\n\nTickets can be purchased through the Green Music Center’s website or by calling\, (707) 664-4246.The Santa Rosa Symphony is not selling tickets to this event. \n\n\n\n\nBUY TICKETS\n\n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\n\n\n\n\n Listen to the E.T. The Extra Terrestrial Soundtrack Watch the Trailer  \n\n\n\nHealth & Safety\n\n\n\nPlease read the Green Music Center’s current COVID-19 protocols here. Please note: COVID-19 protocols are subject to change. E.T. The Extra-Terrestrial is a trademark and copyright of Universal Studios. Licensed by Universal Studios Licensing LLC. All Rights Reserved. Available on Blu-ray and DVD from Universal Pictures Home Entertainment.   URL:https://www.srsymphony.org/event/e-t-the-extra-terrestrial-in-concert/ CATEGORIES:Special Event END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20220421T202735Z LAST-MODIFIED:20240209T175856Z UID:24898-1705536000-1705536000@www.srsymphony.org SUMMARY:Free Community Concert featuring Villalobos Brothers DESCRIPTION:Presented by the Green Music Center and Santa Rosa Symphony\n\n\n\nTickets available through the Green Music Center. \n\n\n\nEvent has passed \n\n\n\n\n\n\n\nSeating is general admission and available on a first come-first served basis. Get there early for best seats. \n\n\n\nProgram\n\n\n\nLeonard Bernstein/Maurice Peress\, Arranger : Overture to West Side StoryScott Joplin/d.S. Desisle\, Arranger/gunther Schuller\, Editor : The EntertainerAlberto Ginastera : concerto for Harp and Orchestra\, Opus 25Son Veracruzano [traditional]/Luis Villalobos/Eduardo Magallanes\, Arranger : El PijulErnesto Villalobos : AttackLuis Villalobos/Marcos Barilari\, Arranger : Sin MiSon Veracruzano [traditional] : La BrujaAlberto Villalobos/Eduardo Magallanes\, Arranger : El San LorenzoPatricio Hidalgo/Alberto Villalobos : La GallinaLuis Villalobos/Marcos Barilari\, Arranger : Somos  \n\n\n\nTickets\n\n\n\n\nThis concert will be general admission and seating is on a first come-first served basis.\n\n\n\nLIMIT 8 per household.\n\n\n\nTickets are requred for entry.\n\n\n\nTickets available online at the Green Music Center\n\n\n\n\nAll seating for this event is general admission and on a first-come\, first-served basis. Seating in Weill Hall and outdoor tables is limited and not guaranteed. Patrons who wish to sit inside Weill Hall or at an outdoor table\, should plan to be seated by 6:40 p.m. so the performance can begin on time. All guests will be welcome to sit on the lawn after that time. \n\n\n\nConcert-goers may bring in food and non-alcoholic beverages to enjoy a picnic on the lawn or at terrace tables. Food and beverages may also be purchased on site. Water bottle filling stations will also be available.  \n\n\n\nFor the safety of all guests\, all items brought into the Green Music Center including coolers\, picnic baskets\, bags\, backpacks and purses are subject to search upon entry. Patrons who choose not to subject their personal belongings to a security search will not be permitted to enter the grounds. \n\n\n\n \n\n\n\n  \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\n\n\n\n\nSupported in part by\n\n\n\n\n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nPhoto of Francesco Lecce-Chong by Susan and Neil Silverman Photography URL:https://www.srsymphony.org/event/free-community-concert-featuring-villalobos-brothers/ CATEGORIES:Special Event END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20220406T020716Z LAST-MODIFIED:20240209T181343Z UID:24897-1705536000-1705536000@www.srsymphony.org SUMMARY:My Kind of Broadway DESCRIPTION:Click here to see full program\n\n\n\n\nPre Concert Talk\n\n\n\nJoin Principal Pops Conductor Michael Berkowitz one hour prior to every concert for a discussion of the afternoon’s concert\, along with personal anecdotes and memories from his storied career working on Broadway and with Liza Minelli\, Henry Mancini\, and Marvin Hamlisch among many others. \n\n\n\nHow to Purchase Tickets for The Pops!\n\n\n\nAlthough the Santa Rosa Symphony is performing\, the Luther Burbank Center for the Arts is selling the tickets for this concert. \n\n\n\nTo purchase tickets\, click here.LBC Box office: (707) 546-3600 \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\nTues – Sat\, 10am – 6pm  |  closed Sunday and Monday(Open 2 hours before performances on Sundays and Mondays) \n\n\n\n \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\n“My Kind of Broadway: Mike Berkowitz Finale” underwritten by The Heck Foundation Mike Berkowitz underwritten by Michael and Nancy Hall   \n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability. URL:https://www.srsymphony.org/event/my-kind-of-broadway/ CATEGORIES:Pops Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20220406T014948Z LAST-MODIFIED:20240119T215537Z UID:24895-1705536000-1705536000@www.srsymphony.org SUMMARY:A John Denver Rocky Mountain Christmas DESCRIPTION:About the Concert\n\n\n\nSince 2002 the combined talents of Curry and his band have brought John’s music back to thousands of people. He also works behind the scenes to preserve Denver’s music. Most notable is Curry’s collaboration with Lee Holdridge in rebuilding and preserving Denver’s original symphony arrangements. Curry was a key performer in the induction of John Denver to the Colorado Music Hall of fame show hosted by Olivia Newton John. He also was the host of the official John Denver Estate show\, which toured the United States and Australia. Curry’s latest project is titled\, “Such a Wild Place\,” which was produced by two of John Denver’s band members\, Pete Huttlinger and Chris Nole. It includes four original songs co-written by Jim Curry and also includes three unreleased songs written by John Denver. \n\n\n\nPre Concert Talk!\n\n\n\nJoin Principal Pops Conductor Michael Berkowitz one hour prior to every concert for a discussion of the afternoon’s concert\, along with personal anecdotes and memories from his storied career working on Broadway and with Liza Minelli\, Henry Mancini\, and Marvin Hamlisch among many others. \n\n\n\nHow to Purchase Tickets for Pops!\n\n\n\nAlthough the Santa Rosa Symphony is performing\, the Luther Burbank Center for the Arts is selling the tickets for this concert. \n\n\n\n\nPOPS! Subscription Form\n\n\n\n\nNew subscriptions on sale June 10Individual tickets on sale August 17 \n\n\n\nTo purchase tickets\, click here.LBC Box office: (707) 546-3600Tues – Sat\, 10am – 6pm  |  closed Sunday and Monday(Open 2 hours before performances on Sundays and Mondays) \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\n“Rocky Mountain Christmas” underwritten by Gordon  BlumenfeldMike Berkowitz underwritten by Michael and Nancy Hall   \n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nThere are no program notes for this concert. URL:https://www.srsymphony.org/event/a-john-denver-rocky-mountain-christmas/ CATEGORIES:Pops Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20220406T013838Z LAST-MODIFIED:20240221T230754Z UID:24894-1705536000-1705536000@www.srsymphony.org SUMMARY:Playing for Peanuts: The Music of Vince Guaraldi DESCRIPTION:About the Concert\n\n\n\nLaunching Michael Berkowitz’s final season\, Playing for Peanuts: The Music of Vince Guaraldi represents the world premiere of brand new orchestrations of Guaraldi’s genius\, inspired by local legend Charles M. Schulz\, his quirky Peanuts characters\, and the comic strip itself. GRAMMY®-nominated pianist David Benoit\, who composed music for the Peanuts TV specials for more than 10 years\, will perform enduring favorites with his trio\, including “Linus and Lucy\,” “Christmas Time Is Here\,” “You’re in Love Charlie Brown\,” “Great Pumpkin Waltz\,” “The Red Baron March\,” “Cast Your Fate to The Wind\,” plus other Peanuts favorites. \n\n\n\nFor four decades\, the GRAMMY®-nominated pianist/composer/ arranger David Benoit has reigned supreme as one the founding fathers of contemporary jazz. He has served as conductor with a wide range of symphonies\, including the Los Angeles Philharmonic\, San Francisco Symphony\, Dresden Philharmonic\, London Symphony\, and the Asia America Symphony Orchestra\, to name a few. Piano performances have included Claude Bolling’s” Suite for Flute & Jazz Piano\,” “Suite for Cello & Piano\,” “Concerto for Guitar & Jazz Piano Trio\,” with Angel Romero; guest soloist with Lalo Schifrin and his orchestra; and\, as a tribute to Charles M. Schultz\, the Peanuts Piano Concerto and the music of Vince Guaraldi in conjunction with his recording of Here’s to You\, Charlie Brown: 50 Great Years. Be a part of the music of Charlie Brown at this special tribute\, here in the hometown of Charles M. Schulz himself. \n\n\n\nPre Concert Talk\n\n\n\nJoin Principal Pops Conductor Michael Berkowitz one hour prior to every concert for a discussion of the afternoon’s concert\, along with personal anecdotes and memories from his storied career working on Broadway and with Liza Minelli\, Henry Mancini\, and Marvin Hamlisch among many others. \n\n\n\nHow to Purchase Tickets for Pops!\n\n\n\nAlthough the Santa Rosa Symphony is performing\, the Luther Burbank Center for the Arts is selling the tickets for this concert. \n\n\n\nEvent has already passed. \n\n\n\n\n\n\n\nNew subscriptions on sale June 10Individual tickets on sale August 17 \n\n\n\nTo purchase tickets\, click here.LBC Box office: (707) 546-3600Tues – Sat\, 10am – 6pm  |  closed Sunday and Monday(Open 2 hours before performances on Sundays and Mondays) \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\n“Playing for Peanuts: The Music of Vince Guaraldi” underwritten by The Redwood Empire Ice Area (Snoopy’ s Home Ice)Mike Berkowitz underwritten by Michael and Nancy Hall  \n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nThere are no program notes for this concert. URL:https://www.srsymphony.org/event/playing-for-peanuts-the-music-of-vince-guaraldi/ CATEGORIES:Pops Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20220309T002430Z LAST-MODIFIED:20240209T022520Z UID:24893-1705536000-1705536000@www.srsymphony.org SUMMARY:Opera in Concert: Mozart's Magic Flute DESCRIPTION:ArtQuest Staff and Instructors\n\n\n\nKatie Loomis\, Program CoordinatorMarla Tusa\, Vocal MusicLea Brown\, DanceJereme Anglin\, Theatre ArtsJason Pedri\, Video ArtsLauren Frost\, Digital ArtsBrooke Delello\, Visual Fine ArtsJanet Fisher\, Visual Fine ArtsTim Decker\, Instrumental MusicJohn Sappington\, Photography \n\n\n\nSan Francisco Conservatory of Music students\n\n\n\nVictor Cardamone\, TaminoEllen Leslie\, PaminaHyesoo Kim\, PapagenaErica Thelen\, First Lady/Child-SpiritTaylor See\, Second Lady/Child-SpiritHope Nelson\, Third Lady/Child-SpiritJackson Allen\, Monostatos/First Armored ManJoe Hack\, Temple Speaker/Second Armored Man \n\n\n\n \n\n\n\n  \n\n\n\nTickets\n\n\n\nSingle tickets available now. \n\n\n\n\nBuy Now!\n\n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\nLead Sponsor: Victor and Karen TrioneConductor Francesco Lecce-Chong Sponsored by David and Corinne ByrdArtQuest Santa Rosa High School sponsored by Willow Creek Wealth ManagementEllen Leslie sponsored by Pauline FisherEfraín Solís sponsored by Jack Dupre and Marsha Vas DupreShawnette Sulker sponsored by Irene Sohm \n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\n\n\n\n\n\nWolfgang Amadeus Mozart – Die Zauberflöte (The Magic Flute)\, K. 620 (abridged)\nCOMPOSER: born January 27\, 1756\, Salzburg\, Austria; died December 5\, 1791\, ViennaWORK COMPOSED: between April and July 1791\, on a libretto by Emanuel SchickanederWORLD PREMIERE: Mozart led the premiere at the Freihaus-Theater auf der Wieden in Vienna on September 30\, 1791INSTRUMENTATION: Tamino (tenor)\, Papageno (baritone)\, Pamina (soprano)\, Queen of the Night (coloratura soprano)\, Sarastro (bass)\, 3 Ladies (sopranos)\, Monostatos (tenor)\, 3 Child-Spirits (treble\, alto\, mezzo-soprano)\, Speaker of the Temple (bass-baritone) 3 Priests (tenor\, bass\, speaker)\, Papagena (soprano)\, 2 Armored Men (tenor\, bass)\, 3 Slaves (2 tenors\, bass)\, SATB chorus\, 2 flutes (1 doubling piccolo)\, 2 oboes\, 2 clarinets\, 2 bassoons\, 2 horns\, 2 trumpets\, 3 trombones\, timpani\, and stringsESTIMATED DURATION: 90 minutesDuring the summer and fall of 1791\, Wolfgang Amadeus Mozart juggled several projects: his final opera\, La clemenza di Tito; the singspiel The Magic Flute\, the Requiem (which Mozart left unfinished at his death)\, and the Clarinet Concerto. In September 1791\, as Mozart raced to complete The Magic Flute\, he was also opening La clemenza in Prague. This hectic schedule resulted in long days\, sleepless nights\, and hours traveling between Vienna and Prague\, in less than comfortable conditions. After he premiered La clemenza\, Mozart fell ill; he spent the final two months of his life frantically trying to complete as much music as possible while he could still work. He died on December 5\, 1791\, seven weeks before his 36th birthday. \n\n\n\nBoth the story and music of The Magic Flute reflect Mozart’s style and personality; conductor Bruno Walter called it “Mozart’s own spiritual will and testament.” Written in German\, Mozart’s mother tongue\, the fanciful tale incorporates many of the Enlightenment ideals to which Mozart aspired: noble virtue\, the universality of mankind\, integrity\, and the heroic striving for knowledge. These lofty aspirations combine with unapologetically lowbrow humor to make The Magic Flute a true masterpiece\, one Mozart wrote for everyday people rather than the aristocracy or the Church. \n\n\n\nIn technical terms\, The Magic Flute falls into the category of singspiel (speech-song) rather than opera\, as it incorporates spoken dialogue rather than recitatives between songs. Singspiels\, a form of German comic opera\, were quite popular in Mozart’s time. He was familiar with the style\, having previously composed several singspiele\, including Bastien und Bastienne\, written at the tender age of 12\, and The Abduction from the Seraglio\, the first large-scale stage work he wrote after moving to Vienna in 1782. Singspiele are especially well-suited for plots that feature magical\, whimsical\, or “exotic” elements. Librettist\, actor\, and theatrical impresario Emanuel Schikaneder no doubt had singspiel in mind for The Magic Flute\, whose story combines elements of several earlier tales. Research suggests Schikaneder may have been influenced by a 12th-century roman\, Yvain (Owain\, a knight of King Arthur’s Round Table)\, as well as the 1731 fantasy novel Life of Sethos\, Taken from the private Memoirs of the Ancient Egyptians. Schickanader’s theatrical company was also known for its productions of Zauberoper (fairy-tale operas)\, particularly Oberon and The Philosopher’s Stone. \n\n\n\nIn 1784\, Mozart became a Freemason\, drawn as he was to the group’s belief in Enlightenment and humanist values. Many of Mozart’s friends and colleagues were also Masons\, including Schikaneder\, who found in Masonic symbology a perfect vehicle for telling a fanciful tale. The Magic Flute abounds in Masonic references. The number three has particular Masonic significance; the overture\, set in the key of E-flat (three flats)\, begins with three bold chords\, meant to represent the three knocks that open secret Masonic rites. These chords return later in the overture\, and recur at pivotal dramatic moments in the opera. \n\n\n\nOpera plots are known for their convoluted storylines\, particularly comic operas\, with their reliance on misdirection\, deception\, and mistaken identity. Schikaneder’s story is less purely complicated and more puzzling\, however. Prince Tamino is given a quest by the Queen of the Night to rescue the Queen’s daughter\, Pamina\, from the evil clutches of the wicked sorcerer Sarastro. This sets up the premise that Tamino\, Pamina\, and the Queen are “good” characters\, while Sarastro is presented as “bad.” Halfway through the story these assumptions are turned upside-down. During his travels\, Tamino\, accompanied by the half-man\, half-bird Papageno\, finds Sarastro and comes to understand that Sarastro was rescuing Pamina from the Queen\, who is actually the evildoer in this story. Along the way\, as Sarastro charges them to perform three “trials” to prove their bravery\, loyalty\, and honesty\, Tamino and Pamina fall in love (Papageno eventually finds love himself in the form of the adoring half-woman half-bird Papagena)\, and the Queen is defeated. \n\n\n\nMusicologist Luke Howard offers an intriguing explanation for this narrative about-face. “These plot peculiarities can be understood in terms of a larger universal story that untangles the complexities of façade and inner truth\,” he writes. “In this interpretation\, The Magic Flute is a sophisticated symbolic vehicle\, a lesson in epistemology that represents a philosophical exercise commonly known in German as Sein und Schein (Reality and Appearance). It invites the viewer to look past first appearances\, and examine the premises and assumptions on which those appearances are based. In other words\, it takes the story much further than a mere fairy tale – where characters are “types” and the distinction between good and evil usually well-marked – and turns it into a more meaningful and profound allegory … the audience … discovers the true Sein (Reality) beneath the deceptive Schein (or Appearance). This makes the first part of the opera an intentional deception\, trying to convince Tamino that good is evil\, and evil good. The second Act then pulls the curtain back and reveals the Truth that the Queen had hidden in the opera’s opening.” \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n© 2023 Elizabeth Schwartz Elizabeth Schwartz is a writer and music historian based in the Portland area. She has been a program annotator for more than 20 years\, and works with music festivals and ensembles around the country. Schwartz has also contributed to NPR’s “Performance Today\,” (now heard on American Public Media). \n\n\n\nNOTE: These program notes are for Santa Rosa Symphony patrons and other interested readers. Any other use is forbidden without specific permission from the author\, who may be contacted at classicalmusicprogramnotes.com. URL:https://www.srsymphony.org/event/opera-in-concert-mozarts-magic-flute/ CATEGORIES:Special Event END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20220309T000105Z LAST-MODIFIED:20240223T225719Z UID:24892-1705536000-1705536000@www.srsymphony.org SUMMARY:Two Piano World Premiere DESCRIPTION:What’s Special About Concert?\n\n\n\nJoin us for the Festival of Masks\, presented by the Santa Rosa Symphony League. \n\n\n\nA treasure trove of decorative masks created by some of the finest artists in Sonoma County will be auctioned at the Santa Rosa Symphony’s concerts on May 6\, 7 & 8\, 2023. \n\n\n\nDoors open on Saturday and Monday at 6:00 PM and on Sunday at 1:30 PM\, so you have time to shop for your perfect gift\, wall decoration\, or mask for that masquerade ball you may be attending! You can bid at a silent auction or purchase your favorite mask outright. Bidding will take place before the concert and during intermission. Your winning bid will be packaged and waiting for you immediately after the concert. For more information\, please visit the Santa Rosa Symphony League’s website \n\n\n\nYour purchase supports the Symphony’s Music Education programs. \n\n\n\n  \n\n\n\nConcert Conversations with Francesco Lecce-Chong\n\n\n\nConcert Conversations are general seating and free to Classical Series concert ticket holders. Approximately 30 minutes in Weill Hall. \n\n\n\n\nSaturday\, May 6\, 2023 at 6:30 PM\n\n\n\nSunday\, May 7\, 2023 at 2:00 PM\n\n\n\nMonday\, May 8\, 2023 at 6:30 PM\n\n\n\n\nTickets\n\n\n\n\nBuy Now!\n\n\n\n\nYouths 7-17 years of age may receive one complimentary ticket with every paid adult. Request tickets through Patron Services at (707) 546-8742. Classical Series concerts only. \n\n\n\n$10 student rush tickets for college students with a valid student ID. Available starting 1-1/2 hours prior to the concert\, at the door only. Classical Series concerts only. \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\nListen on Spotify\n\n\n\n \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\nClassical Concert Series underwritten by Anderman Family FoundationSponsored in memory of Jim and Charlotte LambConductor Francesco Lecce-Chong sponsored by David and Corinne ByrdCommissioned Work\, Concerto for Two Pianos and Orchestra\, by Ellen Taaffe Zwilich (World Premiere) supported by The Clarence E. Heller Charitable Foundation and the National Endowment for the ArtsGuest Artist Christina Naughton sponsored by Sara and Edward KozelGuest Artist Michelle Naughton sponsored by Nancy and Robert NovakDiscovery Open Rehearsal Series sponsored by The Stare Foundation and David Stare of Dry Creek VineyardPre-concert Talks sponsored by Jamei Haswell in memory of Richard GrundySeason Media Sponsor: The Press Democrat \n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nPhoto of Christina and Michelle Naughton by Lisa Marie Mazzucco URL:https://www.srsymphony.org/event/two-piano-world-premiere/ CATEGORIES:Classical Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20220308T223956Z LAST-MODIFIED:20240119T215657Z UID:24891-1705536000-1705536000@www.srsymphony.org SUMMARY:Blue Danube DESCRIPTION:Concert Conversations with Francesco Lecce-Chong\n\n\n\nConcert Conversations are general seating and free to Classical Series concert ticket holders. Approximately 30 minutes in Weill Hall. \n\n\n\nSaturday\, March 25\, 2023 at 6:30 PMSunday\, March 26\, 2023 at 2:00 PMMonday\, March 27\, 2023 at 6:30 PM \n\n\n\nTickets\n\n\n\n\nBuy Now!\n\n\n\n\nYouths 7-17 years of age may receive one complimentary ticket with every paid adult. Request tickets through Patron Services at (707) 546-8742. Classical Series concerts only. \n\n\n\n$10 student rush tickets for college students with a valid student ID. Available starting 1-1/2 hours prior to the concert\, at the door only. Classical Series concerts only. \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\nListen on Spotify\n\n\n\n \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\nClassical Concert Series underwritten by Anderman Family FoundationSponsored by Viking CruisesSupporting Sponsor by The E. Nakamichi Foundation        Conductor Francesco Lecce-Chong sponsored by David and Corinne ByrdGuest Artist Jennifer Frautschi sponsored by Victor and Karen Trione\, in memory of Henry TrioneFirst Symphony project commissioners Nancy and David Berto\, Gordon Blumenfeld\, Chuck and Ellen Wear\, Creighton White in loving memory of Dorothy Bristow White\, and Chloe Tula and Francesco Lecce-ChongDiscovery Open Rehearsal Series sponsored by The Stare Foundation and David Stare of Dry Creek VineyardPre-concert Talks sponsored by Jamei Haswell in memory of Richard GrundySeason Media Sponsor: The Press Democrat \n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nPhoto of Jennifer Frautschi by Dario AcostaPhoto of Angélica Negrón by Catalina Kulczar URL:https://www.srsymphony.org/event/blue-danube/ CATEGORIES:Classical Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091824 CREATED:20220308T215723Z LAST-MODIFIED:20240123T190636Z UID:24890-1705536000-1705536000@www.srsymphony.org SUMMARY:Bruno Returns! DESCRIPTION: Concert Conversations with Bruno Ferrandis\n\n\n\nConcert Conversations are general seating and free to Classical Series concert ticket holders. Approximately 30 minutes in Weill Hall. \n\n\n\n\nSaturday\, February 18\, 2023 at 6:30 PM\n\n\n\nSunday\, February 19\, 2023 at 2:00 PM\n\n\n\nMonday\, February 20\, 2023 at 6:30 PM\n\n\n\n\nTickets\n\n\n\n\nBuy Now!\n\n\n\n\nYouths 7-17 years of age may receive one complimentary ticket with every paid adult. Request tickets through Patron Services at (707) 546-8742. Classical Series concerts only. \n\n\n\n$10 student rush tickets for college students with a valid student ID. Available starting 1-1/2 hours prior to the concert\, at the door only. Classical Series concerts only. \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\nListen on Spotify\n\n\n\n \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\nClassical Concert Series underwritten by Anderman Family FoundationSponsored by in memory of Jim and Charlotte LambGuest Conductor Bruno Ferrandis sponsored by The Alan and Susan Seidenfeld Charitable TrustGuest Artist Jon Nakamatsu sponsored by Tom and Barbara KonicekDiscovery Open Rehearsal Series sponsored by The Stare Foundation and David Stare of Dry Creek VineyardPre-concert Talks sponsored by Jamei Haswell in memory of Richard GrundySeason Media Sponsor: The Press Democrat \n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nPhoto of Bruno Ferrandis by Colin TalcroftPhoto of Jon Nakamatsu by Maggie Estes URL:https://www.srsymphony.org/event/bruno-returns/ CATEGORIES:Classical Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20220308T214117Z LAST-MODIFIED:20240123T192314Z UID:24889-1705536000-1705536000@www.srsymphony.org SUMMARY:RACH & the Hollywood Sound DESCRIPTION:This concert is dedicated to the memory of two prominent Santa Rosa Symphony devotees\, Polly Fisher and Dave Badella.   \n\n\n\nPolly Fisher was the dedicated and much-loved executive director of the symphony from 1978 to 1997. During those 19 years\, she worked closely with music directors Corrick Brown and later Jeffrey Kahane. Polly remained a loyal and generous symphony patron until the time of her recent passing.  \n\n\n\nAs the symphony’s stage manager for over two decades\, Dave Badella was devoted to our orchestra musicians and to our crew and staff. His conscientious work and attention to detail resulted in the utmost care of all the symphony’s productions.  \n\n\n\nPolly and David\, each in their own way\, made many valuable and lasting positive contributions that will long be appreciated. They will be fondly remembered and deeply missed by all of us.   \n\n\n\nAbout the Concert\n\n\n\nRachmaninoff’s bold\, rich Second Symphony paired with the symphonic splendor from Gone with the Wind. \n\n\n\nConcert Conversations with Francesco Lecce-Chong\n\n\n\nConcert Conversations are general seating and free to Classical Series concert ticket holders. Approximately 30 minutes in Weill Hall. \n\n\n\nSaturday\, January 21\, 2023 at 6:30 PMSunday\, January 22\, 2023 at 2:00 PMMonday\, January 23\, 2023 at 6:30 PM \n\n\n\nTickets\n\n\n\n\nBuy Now!\n\n\n\n\nYouths 7-17 years of age may receive one complimentary ticket with every paid adult. Request tickets through Patron Services at (707) 546-8742. Classical Series concerts only. \n\n\n\n$10 student rush tickets for college students with a valid student ID. Available starting 1-1/2 hours prior to the concert\, at the door only. Classical Series concerts only. \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\nListen on Spotify\n\n\n\n \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\nClassical Concert Series underwritten by Anderman Family FoundationSponsored by The Peggy Anne Covington FundConductor Francesco Lecce-Chong sponsored by David and Corinne ByrdDiscovery Open Rehearsal Series sponsored by The Stare Foundation and David Stare of Dry Creek VineyardPre-concert Talks sponsored by Jamei Haswell in memory of Richard GrundySeason Media Sponsor: The Press Democrat \n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nPhoto of Francesco Lecce-Chong by Susan and Neil Silverman Photography \n\n\n\nFRANZ WAXMANSuite from The Nun’s Story \n\n\n\nCOMPOSER: born December 24\, 1906\, Königshötte\, Upper Silesia (then Prussia\, now Chorzów\, Poland); died February 24\, 1967\, Beverly Hills\, CAWORK COMPOSED: 1958-59WORLD PREMIERE: The film premiered on June 18\, 1959\, at Radio City Music Hall in New York CityINSTRUMENTATION: piccolo\, 2 flutes\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon\, 4 horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, glockenspiel\, chimes\, xylophone\, muffled “Mahler” chime\, celesta\, piano\, 2 harps\, and stringsESTIMATED DURATION: 11 minutes \n\n\n\nComposer\, arranger\, conductor\, artistic director: Franz Waxman excelled at them all\, but he made a lasting name for himself through the film scores he composed in Hollywood from the 1930s until his death in 1967. \n\n\n\nIn 1950\, Waxman won the first of his two Academy Awards for Best Score for Billy Wilder’s Sunset Boulevard\, starring William Holden and Gloria Swanson. The following year\, Waxman took home his second Academy Award\, for George Stevens’ A Place In The Sun\, a cinematic version of Theodore Dreiser’s 1925 novel An American Tragedy\, starring Elizabeth Taylor\, Montgomery Clift\, and Shelley Winters. Including his two wins\, Waxman was also nominated for 12 Academy Awards\, for Suspicion\, Rebecca\, Dr. Jekyll and Mr. Hyde\, and A Nun’s Story\, among others. Waxman also composed scores for The Bride of Frankenstein\, Stalag 17\, To Have and Have Not\, Rear Window\, Mister Roberts\, Peyton Place\, and Taras Bulba. \n\n\n\nIn addition to his work in Hollywood\, Waxman founded and directed the Los Angeles Music Festival from 1947 until his death. During his tenure\, the festival hosted the world and American premieres of some 80 works by Igor Stravinsky\, Ralph Vaughan Williams\, Dmitri Shostakovich\, and Arnold Schoenberg\, among others. \n\n\n\nIn some ways Waxman was an unlikely choice as a composer for a film based on true events about a Catholic nun in 1920s Belgium who struggles with her vocation. As a German Jew\, Waxman had no love for the Catholic Church\, particularly because of its official “neutrality” during World War II\, and Pope Pius VII’s refusal to condemn the persecution and genocide of European Jews under Hitler. Waxman and Fred Zinneman\, director of The Nun’s Story\, also clashed over Waxman’s score. \n\n\n\nZinnemann recalled\, “While Franz Waxman was scoring the picture\, I discovered he had a deep dislike for the Catholic Church\, and this was coming across in his music. The theme he wrote for the convent scenes would have been more appropriate for scenes set in a dungeon\, so I got him to write another.” Despite his personal feelings about the Church\, however\, Waxman did more than due diligence with the score\, basing the music on Gregorian chants he had researched in the Papal Library in Rome. \n\n\n\nIn 1959\, after it premiered\, The Nun’s Story became Warner Brothers’ most financially successful film\, grossing more than seven million dollars. Audrey Hepburn\, who starred as Gabrielle van der Mal/Sister Luke\, was nominated for an Academy Award for her performance. “The music which Franz Waxman has composed for The Nun’s Story bears the same kind of overflowing honesty and womanly emotion that characterizes Audrey Hepburn herself in the role of Sister Luke\,” remarked Henry Blanke\, the film’s producer. “Waxman’s music tells the story with warmth and understanding. Just as Sister Luke seeks a level of unquestioning obedience and discipline\, so has Waxman sought and found the various moods of happiness\, dedication\, indecision\, and agonizing failure in her struggle for perfection. He has carried Ms. Hepburn through her novitiate to the accompaniment of the powerful music of the church\, through her hazardous assignment as a nurse in an insane asylum with the music of madness tempered by the dutiful serenity of the nuns.” \n\n\n\nThe Suite on tonight’s program includes a Finale that Zinnemann ultimately cut from the score. The final scene shows Sister Luke leaving the convent and returning to the world. When Jack Warner asked Zinnemann why he removed the music\, Zinnemann shrewdly responded\, “What kind of music do you want at the end of the picture? If the music expresses gloom\, it will imply that it is too bad that Sister Luke left the convent. If it is joyful\, people will think that Warner Bros. is encouraging nuns to leave the convent. And so the movie ends in silence\, the way I wanted it to.” \n\n\n\n MAX STEINERSuite from Gone With The Wind \n\n\n\nCOMPOSER: born May 10\, 1888\, in Vienna; died December 28\, 1971\, Hollywood\, CAWORK COMPOSED: March through May 1939WORLD PREMIERE: Gone With The Wind was first screened in Atlanta\, at Loew’s Grand Theatre\, on December 15\, 1939INSTRUMENTATION: 3 flutes (1 doubling piccolo)\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon\, 4 horns\, 4 trumpets\, 3 trombones\, tuba\, timpani\, percussion\, piano/celesta\, 2 harps\, and stringsESTIMATED DURATION: 15 minutes \n\n\n\nThe life of pioneering film composer Max Steiner would make a terrific biopic; the only problem is that the only person who could do justice to the score for such a project is Steiner himself. Then again\, a typical two-hour movie could hardly encompass the events of Steiner’s long life\, which stretched from the Vienna of the Austro-Hungarian Empire to the sun-drenched Hollywood of the 1960s. \n\n\n\nSteiner\, dubbed “the father of film music\,” was born into a well-connected theatrical family with deep roots in Vienna. Steiner demonstrated prodigal musical talent as a child\, and he took piano and music lessons from both Johannes Brahms and Gustav Mahler; Richard Strauss was the boy’s godfather. Steiner’s father Gabor\, a theater manager and inventor (he built Vienna’s iconic Riesenrad\, an enormous Ferris wheel in Vienna’s Prater amusement park)\, encouraged his son’s abilities; when Max became bored with piano\, he started improvising\, which eventually evolved into full-fledged composing. \n\n\n\nSteiner started his professional music career as a teenager conducting operettas in London and moved to that city in 1906. Over the next eight years\, he began composing his own works as well as conducting others\, including Lehar’s The Merry Widow. When World War I began in August 1914\, Steiner was classified as an enemy alien and interred in a camp with other German and Austrian citizens. Fortunately\, Steiner had influential friends who were able to get him the documents he needed to move to the United States. \n\n\n\nSteiner spent the next 11 years in New York conducting\, directing\, orchestrating\, and arranging music for Broadway. In 1915 he became one of the first music directors for an independent film studio\, Fox Films (now 20th Century-Fox). There he wrote what might be the first score to use original music specially written to accompany a film\, for 1916’s The Bondman (Steiner’s score required 110 musicians who performed live at each screening). Steiner continued working on Broadway until 1929 when he was hired by RKO to head their music department. In 1933\, Steiner’s score for King Kong became his first breakout success; the score’s emotional power dramatizes the admittedly thin plot in a way never seen or heard before in film. Producers who had been unwilling to spend a lot of money on music saw how much Steiner’s score enhanced King Kong’s blockbuster success; soon films in all genres included original music heard throughout the majority of the film’s running time. \n\n\n\nFor Steiner\, King Kong afforded an opportunity to create specific musical themes for each character\, a technique he admired in the music of Richard Wagner. These themes\, or leitmotifs\, became the basic principle around which he composed all his film music over the next four decades. \n\n\n\nWhen producer David O. Selznick asked Steiner to write the music for Gone With The Wind in March 1939\, he gave Steiner just three months for the job. Steiner\, who was writing scores for several other films at the time\, worked upwards of 20 hours a day\, popping Benzedrine pills to keep going. The music features leitmotifs for the main characters\, but the most memorable music in the film is the theme Steiner wrote for Scarlett O’Hara’s home\, Tara; thanks to Steiner\, Tara becomes an additional character in the story. The “Tara” theme begins the film\, is heard throughout the story and sounds over the final scene and credits. In addition to the original music\, Steiner also quotes fragments from “Taps\,” “Dixie\,” and other music from the Civil War period. \n\n\n\nSteiner won three Academy Awards for Best Film Score (for The Informer; Now\, Voyager\, and Since You Went Away). Gone With The Wind was nominated in 13 categories and won eight; perhaps the only reason Steiner’s music didn’t earn him a fourth Oscar is that one of the other films nominated in 1939 was The Wizard of Oz. The American Film Institute ranks Steiner’s music for Gone With The Wind as the second-best film score of all time\, behind John Williams’ Star Wars. \n\n\n\nSERGEI RACHMANINOFFSymphony No. 2 in E minor\, Op. 27 \n\n\n\nCOMPOSER: born April 1\, 1873\, Oneg\, Russia; died March 28\, 1943\, Beverly Hills\, CAWORK COMPOSED: 1906-07. Rachmaninoff dedicated it to his composing teacher\, Sergei TaneyevWORLD PREMIERE: February 7\, 1908\, in St. Petersburg\, with Rachmaninoff conductingINSTRUMENTATION: 3 flutes (1 doubling piccolo)\, 3 oboes (1 doubling English horn)\, 2 clarinets\, bass clarinet\, 2 bassoons\, 4 horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, bass drum\, cymbals\, glockenspiel\, snare drum\, and stringsESTIMATED DURATION: 43 minutes Artists of all types have a love-hate relationship with critics: they need the exposure criticism brings to their work\, but often scorn the critiques themselves. Other artists take criticism too much to heart and let it affect them to a debilitating degree\, which was the case with Sergei Rachmaninoff. After the premiere of Rachmaninoff’s first symphony\, he was so savaged by critics that he did not dare compose a note for three years. Eventually\, Rachmaninoff consulted a doctor\, Nicolai Dahl\, who used hypnotism to bolster Rachmaninoff’s flagging confidence. Rachmaninoff’s Second Piano Concerto was dedicated to Dahl\, and it vindicated Rachmaninoff as a composer by becoming one of his most popular works. \n\n\n\nAfter the success of the Second Piano Concerto\, Rachmaninoff felt ready to tackle another symphony\, and in 1906 he began work on his second. The writing was difficult for him\, as he reported in a letter to a friend\, and the work proceeded slowly. The final version lasted over an hour\, although Rachmaninoff later suggested a number of performance cuts that shorten it by as much as 20 minutes; these cuts have become standard when programming this symphony today. Although Rachmaninoff\, out of necessity\, agreed to the cuts\, which amounted to some 300 measures of music\, he later confided to conductor Eugene Ormandy\, “You don’t know what cuts do to me. It is like cutting a piece out of my heart.” Rachmaninoff might have appreciated the words of one critic\, who wrote at the symphony’s premiere\, “After listening with unflagging attention to its four movements\, one notes with surprise that the hands of the watch have moved sixty-five minutes forward. This may be slightly overlong for the general audience\, but how fresh\, how beautiful it is!” \n\n\n\nThe symphony opens with a darkly murmuring theme played by the lower strings\, a theme that forms the basis for the remainder of the first movement\, as well as much of the rest of the symphony. The violins contrast with a lyrical melody\, followed by a plaintive solo for the English horn. Throughout this movement\, Rachmaninoff uses solo instruments as structural signposts\, indicating changes in mood or harmonic foundations. \n\n\n\nThe horns launch the Scherzo with a bold\, energetic theme\, and the strings continue with a bouncier\, skipping melody. These are contrasted by a series of interludes\, one unabashedly romantic\, and others feverishly intense. As was his wont in many of his orchestral works\, including the Rhapsody on a Theme of Paganini\, Rachmaninoff includes the Dies irae melody (Day of Wrath) from the Requiem Mass; it appears here in the coda to the trio. \n\n\n\nIn the Adagio\, Rachmaninoff’s signature romanticism is heard in the violin’s opening melody\, which could easily serve as the love song in a cinematic romance. In fact\, 1970s pop singer Eric Carmen wrote a hit song based on this theme\, “Never Gonna Fall in Love Again.” \n\n\n\nFor the Finale\, Rachmaninoff unleashes a whirlwind of vibrant joy. Buoyant strings recall the Scherzo\, but this music is abruptly interrupted by the stark call of muted horns. We then hear snatches of music from previous movements\, especially the Scherzo and the Adagio. The strings\, playing in the style of the Italian tarantella\, are the foundation for this movement\, and its energy drives the symphony forward to a triumphant conclusion.             © Elizabeth Schwartz \n\n\n\nNOTE: These program notes are published here by the Santa Rosa Symphony for its patrons and otherinterested readers. Any other use is forbidden without specific permission from author\, who may be contacted at www.classicalmusicprogramnotes.com. URL:https://www.srsymphony.org/event/rach-the-hollywood-sound-2/ CATEGORIES:Classical Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20220308T212944Z LAST-MODIFIED:20240403T172923Z UID:24888-1705536000-1705536000@www.srsymphony.org SUMMARY:Beethoven's Ninth DESCRIPTION:Concert Conversations with Francesco Lecce-Chong\n\n\n\nConcert Conversations are general seating and free to Classical Series concert ticket holders. Approximately 30 minutes in Weill Hall. \n\n\n\n\nSaturday\, December 3\, 2022 at 6:30 PM\n\n\n\nSunday\, December 4\, 2022 at 2:00 PM\n\n\n\nMonday\, December 5\, 2022 at 6:30 PM\n\n\n\n\nTickets\n\n\n\n\nBuy Now!\n\n\n\n\nYouths 7-17 years of age may receive one complimentary ticket with every paid adult. Request tickets through Patron Services at (707) 546-8742. Classical Series concerts only. \n\n\n\n$10 student rush tickets for college students with a valid student ID. Available starting 1-1/2 hours prior to the concert\, at the door only. Classical Series concerts only. \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\nListen on Spotify\n\n\n\n \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\nClassical Concert Series underwritten by Anderman Family FoundationSponsored by The Donald and Maureen Green Orchestral Works Endowment FundConductor Francesco Lecce-Chong sponsored by David and Corinne ByrdGuest Artist Elizabeth Prior sponsored by Ellen and Chuck WearGuest Artist Abigail Nims sponsored by Joanne and Ed Enemark\, in memory of her parents\, Robert and Shirley SkeelsGuest Artist Christopher Pfund sponsored by Mark Dierkhising in memory of Karen BrodskyGuest Artist Sonoma State University Symphonic Chorus sponsored by Linda and David Hanes    Discovery Open Rehearsal Series sponsored by The Stare Foundation and David Stare of Dry Creek VineyardPre-concert Talks sponsored by Jamei Haswell in memory of Richard GrundySeason Media Sponsor: The Press Democrat \n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nPHOTO CREDITSElizabeth Prior by Caroline WoodhamAbigail Nims by Regina MountjoyChristopher Pfund by Robert KimJenny Bent by Sonoma State UniversityMichael Dean by Ken WeingartLeslie Ann Bradley by Lisa Marie Mazzucco \n\n\n\n\n\n\n\n\nJessie Montgomery – Soul Force for Orchestra\nCOMPOSER: born December 8\, 1981\, New York CityWORK COMPOSED: 2015. Commissioned by The Dream Unfinished\, a benefit for civil rightsWORLD PREMIERE: James Blachly conducted the first performance on July 17\, 2015\, at the Salvation Army’s Centennial Memorial Temple in New York CityINSTRUMENTATION: 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, 4 horns\, 3 trumpets\, 3 trombones (1 doubling bass trombone)\, tuba\, timpani\, anvil\, bass drum\, brake drum\, chain\, cowbells\, crash cymbal\, frame drum\, glockenspiel\, hi-hat\, kick drum\, ride cymbal\, snare drum\, temple blocks\, tom toms\, whip\, and stringsESTIMATED DURATION: 8 minutes For the past several seasons\, the Santa Rosa Symphony has presented works by the acclaimed composer Jessie Montgomery. In this concert\, we continue showcasing Montgomery’s innovative voice. Her work combines classical language with elements of vernacular music\, improvisation\, language\, and social justice. The resulting music has earned Montgomery rave reviews for her “vibrantly inventive original works for strings” (ClassicsToday.com) and numerous awards\, including the ASCAP Foundation’s Leonard Bernstein Award. Montgomery’s works are performed frequently around the world by leading musicians and ensembles. In May 2021\, Montgomery began her three-year appointment as the Mead Composer-in-Residence with the Chicago Symphony Orchestra. \n\n\n\nSince 1999\, Montgomery has been affiliated with The Sphinx Organization\, which supports young African-American and Latinx string players\, and has served as composer-in-residence for the Sphinx Virtuosi\, the Organization’s flagship professional touring ensemble. She was awarded a generous MPower grant to assist in the development of her 2016 debut album\, Strum: Music for Strings (Azica). In 2019\, the New York Philharmonic selected Montgomery as one of the featured composers for its Project 19\, which marks the centennial of the ratification of the 19th Amendment granting American women the right to vote. \n\n\n\n“Soul Force is a one-movement symphonic work which attempts to portray the notion of a voice that struggles to be heard beyond the shackles of oppression\,” Montgomery writes. “The music takes on the form of a march which begins with a single voice and gains mass as it rises to a triumphant goal. Drawing on elements of popular African-American musical styles such as big-band jazz\, funk\, hip-hop\, and R+B\, the piece pays homage to the cultural contributions\, the many voices\, which have risen against aggressive forces to create an indispensable cultural place.” \n\n\n\n“I have drawn the work’s title from Dr. Martin Luther King’s ‘I Have a Dream’ speech in which he states: ‘We must not allow our creative protest to degenerate into physical violence. Again and again\, we must rise to the majestic heights of meeting physical force with soul force.’”  \n\n\n\n\nRalph Vaughan Williams – Flos Campi (Flowers of the Field/I Am the Rose of Sharon) Suite for Viola\, Orchestra & Chorus\nCOMPOSER: born October 12\, 1872\, Down Ampney\, England; died August 26\, 1958\, LondonWORK COMPOSED: Written for and dedicated to violist Lionel Tertis in 1925WORLD PREMIERE: Sir Henry Wood led the Queen’s Hall Orchestra with violist Lionel Tertis and singers from the Royal College of Music on October 10\, 1925 in LondonINSTRUMENTATION: solo viola\, small SATB wordless chorus\, flute (doubling piccolo)\, oboe\, clarinet\, bassoon\, horn\, trumpet\, bass drum\, cymbals\, snare drum\, triangle\, celesta\, harp\, and stringsESTIMATED DURATION: 20 minutes  “[Ravel] … paid me the compliment of telling me that I was the only pupil who ‘n’écrit pas de ma musique’ [didn’t write my music].” – Ralph Vaughan Williams In the winter of 1907-08\, Ralph Vaughan Williams traveled to Paris to study composition with Maurice Ravel. For the next three months\, Vaughan Williams\, who was three months older than his teacher\, undertook an intensive course of study; the two men met several times a week and Vaughan Williams later credited Ravel for helping him find a clearer\, less dense\, coloristic approach to orchestration. A casual survey of Vaughan Williams’ music bears out the truth of Ravel’s comment\, quoted above\, that Vaughan Williams\, of all his students\, did not imitate the French composer’s style. \n\n\n\nVaughan Williams’s music cannot be easily categorized. His best-known early works – The Lark Ascending and Fantasia on a Theme of Thomas Tallis\, for example – have a pastoral\, dreamy\, folk-music-laden quality. Vaughan Williams’ later works sound entirely different; the raw power\, fury\, and consummate use of orchestral timbres in the Fourth Symphony\, for example\, sounds worlds away from the style of the earlier music. \n\n\n\nFlos Campi\, written in 1925\, occupies a category of its own. This unusual work\, a quasi-concerto for solo viola\, chorus\, and orchestra\, reflects Ravel’s tutelage\, particularly its use of wordless chorus phonating on the syllable “Ah\,” (Ravel used a wordless chorus in Daphnis et Chloé)\, as well as the subtle shadings of its harmonies. But the overall harmonic language is both unexpected and unique; nothing else in Vaughan Williams’ catalog sounds quite like it. \n\n\n\nVaughan Williams used texts from the Biblical Song of Songs as his inspiration for this exotic –  and in places erotic – love song. Each of Flos Campi’s six sections\, played without pause\, is paired with a particular quotation from the Song of Songs. In the original program notes\, Vaughan Williams included these quotes\, in Latin\, for the audience. In his third-person notes for a 1927 performance of Flos Campi\, Vaughan Williams explained how the music was received: “When this work was first produced two years ago\, the composer discovered that most people were not well enough acquainted with the Vulgate (or perhaps even its English equivalent) to enable them to complete for themselves the quotations from the Canticum Canticorum [Song of Songs]. Even the title and the source of the quotations gave rise to misunderstanding. The title Flos Campi was taken by some to connote an atmosphere of buttercups and daisies\, whereas in reality ‘flos Campi’ is the Vulgate equivalent of the Rose of Sharon (Ego flos campi\, et lilium convallium: “I am the Rose of Sharon and the Lily of the Valleys.”) The Biblical source of the quotations also gave rise to the idea that the music had an ecclesiastical basis. This was not the intention of the composer.” 1.         Lento. (“As the lily among thorns\, so is my love among the daughters. Stay me with flagons\, comfort me with apples\, for I languish for love.”)2.         Andante con moto. (“For lo\, the winter is past\, the rain is over and gone\, the flowers appear on the earth\, the time of the singing of birds come\, and the voice of the turtle is heard in our land.”)3.         Lento\, senza misura. (“I sought him whom my soul loveth\, but I found him not. I charge you\, O daughters of Jerusalem\, if ye find my beloved\, tell him that I am sick from love. Whither is thy beloved gone\, O thou fairest among women? Whither is thy beloved turned aside? That we may seek him with thee.”)4.         Moderato alla Marcia. (“Behold his bed which is Solomon’s\, three score valiant men are about it. They all hold swords\, being experts in war.”)5.         Andante quasi lento. (“Return\, Shulamite! Return\, return that we may look upon thee. How beautiful are thy feet with shoes\, O Prince’s daughter.”)6.         Moderato tranquillo. (“Set me as a seal upon thine heart.”) \n\n\n\n \n\n\n\n\nLudwig Van Beethoven – Symphony No. 9 in D minor\, Op. 125 “Choral”\nCOMPOSER: born December 16\, 1770\, Bonn\, Germany; died March 26\, 1827\, ViennaWORK COMPOSED: Beethoven made preliminary sketches in 1817-18\, but most of the music was composed between 1822–24. Beethoven finished his Ninth Symphony in February 1824 and dedicated it to King Frederick William III of Prussia.WORLD PREMIERE: Beethoven conducted the first performance on May 7\, 1824\, at the Kärntnerthor Theater in Vienna.INSTRUMENTATION: soprano\, alto\, tenor\, and bass soloists\, four-part mixed chorus\, piccolo\, 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, contrabassoon\, 4 horns\, 2 trumpets\, 3 trombones\, timpani\, bass drum\, cymbals triangle and strings.ESTIMATED DURATION: 70 minutes The Ninth Symphony extends beyond the realm of the concert hall and has permeated Western culture on many levels\, including socio-political and commercial arenas. The music of the Ninth\, particularly the “Ode to Joy” melody of the final movement\, is so familiar to us that it has lost its unique character and taken on the quality of folk music; that is\, it has shed its “composed” identity as a melody written by Ludwig van Beethoven and simply exists within the communal ear of our collective consciousness. \n\n\n\nWhile some classical works are inextricably linked to the time in which they were written\, Beethoven’s profound musical statements about freedom\, equality\, and humanity resonate just as powerfully today as they did at the Ninth’s premiere. This was evident to the entire world just over 30 years ago\, when Leonard Bernstein conducted an international assembly of instrumentalists and singers in a historic performance of Beethoven’s Ninth at East Berlin’s Schauspielhaus (now Konzerthaus) on December 22\, 1989\, three days after the fall of the Berlin Wall. To emphasize the historic event\, Bernstein substituted the word “freedom” for “joy” in the famous lyrics by the poet Friedrich Schiller in the final movement. The performance was broadcast on television worldwide\, attracting more than 200 million viewers. \n\n\n\nBy 1822\, Beethoven was completely deaf and emotionally isolated. Five years earlier\, at the age of 47\, he had written in his journal\, “Before my departure for the Elysian fields I must leave behind me what the Eternal Spirit has infused into my soul and bids me complete.” Alone and embittered\, Beethoven focused almost exclusively on his musical legacy. \n\n\n\nThe lofty salute to the human spirit expressed in Schiller’s poem An die Freude (To Joy) had resonated with Beethoven for many years; in 1790 he set a few lines in a cantata written to commemorate the death of Emperor Leopold II; he also included portions of Schiller’s poem in his opera Fidelio. “The search for a way to express joy\,” as Beethoven described it\, was the subject of his final symphony. To that end\, Beethoven edited and arranged Schiller’s lines to suit his musical and dramatic needs\, using a melody from the Choral Fantasy he had written 20 years earlier. \n\n\n\nThe symphony opens with the strings sounding a series of hollow open chords\, neither major or minor\, which are harmonically ambiguous – what key is this? The fifths build into a massive statement featuring a weighty dotted rhythmic theme. The power and intensity of this movement foreshadows the finale. \n\n\n\nAs was his wont\, Beethoven broke with symphonic convention by writing a second-movement scherzo. The music bursts forth with dramatic string octaves and pounding timpani. The main theme\, a contrapuntal fugue\, gives way to a demure wind melody. Underneath its playful simplicity\, the barely contained agitation of the scherzo pulses in the strings\, like a racehorse pawing at the starting gate. \n\n\n\nIn a symphony synonymous with innovation\, Beethoven’s most significant departure from convention is the inclusion\, for the first time\, of a chorus and vocal soloists in a formerly exclusively instrumental genre. The cellos and basses play an instrumental recitative\, later sung by the baritone\, which is followed by the unaccompanied “Joy” melody. Beethoven then presents several instrumental variations\, including a triumphal brass fanfare. The baritone soloist introduces Schiller’s poem with words of Beethoven’s: “O friends\, not these tones; instead\, let us strike up more pleasing and joyful ones.” The chorus repeats the last four lines of each stanza as a refrain\, followed by the vocal quartet. A famous interlude\, the Turkish March\, follows (this music was considered “Turkish” because of the inclusion of the triangle\, cymbals and bass drum\, exotic additions to the orchestra of Beethoven’s time). After a number of variations\, the chorus returns with a monumental concluding double fugue.  \n\n\n\n\n\n © Elizabeth Schwartz \n\n\n\nNOTE: These program notes are published here by the Santa Rosa Symphony for its patrons and otherinterested readers. Any other use is forbidden without specific permission from author\, who may be contacted at www.classicalmusicprogramnotes.com. URL:https://www.srsymphony.org/event/beethovens-ninth/ CATEGORIES:Classical Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20220308T205525Z LAST-MODIFIED:20240311T195907Z UID:24887-1705536000-1705536000@www.srsymphony.org SUMMARY:Jazz Greats & Tchaikovsky DESCRIPTION:The energy and inspiration of Gershwin\, Marsalis and Tchaikovsky in one concert!\n\n\n\nNotes About the Music\n\n\n\nGershwin’s Promenade (Walking the Dog) is from the Fred Astaire and Ginger Rogers’ seventh film together\, Shall We Dance. In the film\, Fred’s character borrows a dog just so he can meet Ginger during passenger-dog-walking-hour on the cruise ship they are both on. \n\n\n\nThe Violin Concerto by Wynton Marsalis was composed for Scottish violinist\, Nicola Benedetti. The two collaborated on the piece for months often working note-by-note over transatlantic phone calls. \n\n\n\nTchaikovsky’s Symphony No. 6 premiered in Saint Petersberg\, Russia on October 28\, 1893\, nine days prior to his death. It was his final completed Symphony. \n\n\n\nConcert Conversations with Francesco Lecce-Chong\n\n\n\nConcert Conversations are general seating and free to Classical Series concert ticket holders. Approximately 30 minutes in Weill Hall. \n\n\n\nSaturday\, November 5\, 2022 at 6:30 PMSunday\, November 6\, 2022 at 2:00 PMMonday\, November 7\, 2022 at 6:30 PM \n\n\n\nTickets\n\n\n\n\nBuy Now!\n\n\n\n\nYouths 7-17 years of age may receive one complimentary ticket with every paid adult. Request tickets through Patron Services at (707) 546-8742. Classical Series concerts only. \n\n\n\n$10 student rush tickets for college students with a valid student ID. Available starting 1-1/2 hours prior to the concert\, at the door only. Classical Series concerts only.  \n\n\n\nEnhance Your Experience\n\n\n\n\n\n\n\nRead & Print Program NotesRead why the Symphony went digital \n\n\n\n \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\nListen on Spotify\n\n\n\n \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following: \n\n\n\nClassical Concert Series underwritten by Anderman Family FoundationSponsored by Judith M. GappaConductor Francesco Lecce-Chong sponsored by David and Corinne ByrdGuest Artist Bella Hristova sponsored by Sigmund Anderman\, in memory of Susan AndermanTchaikovsky’s Symphony No. 6 sponsored by Dr. Larry Schoenrock Endowment FundDiscovery Open Rehearsal Series sponsored by The Stare Foundation and David Stare of Dry Creek VineyardPre-concert Talks sponsored by Jamei HaswellSeason Media Sponsor: The Press Democrat \n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nPhoto of Bella Hristova by Lisa Marie Mazzucco \n\n\n\nGEORGE GERSHWINPromenade (Walking the Dog) for Orchestra \n\n\n\nCOMPOSER: born September 26\, 1898\, Brooklyn\, NY; died July 11\, 1937\, Hollywood\, CAWORK COMPOSED: 1937\, as part of the score for the film Shall We Dance.WORLD PREMIERE: 1937INSTRUMENTATION: piccolo\, 2 flutes\, 2 oboes\, 2 clarinets\, bass clarinet\, 2 bassoons\, 4 horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, glockenspiel\, suspended cymbal\, triangle\, vibraphone\, woodblock\, and stringsESTIMATED DURATION: 3 minutes George Gershwin achieved a great deal in his too-short life (he died of a brain tumor at the age of 38). In addition to his many Broadway musicals\, written in collaboration with his brother Ira\, and his groundbreaking orchestral works\, Gershwin also composed a handful of scores for Hollywood films. After his death\, additional films such as the 1945 biopic Rhapsody in Blue and the 1951 MGM adaptation of An American in Paris also showcased Gershwin’s music. \n\n\n\nThe 1937 film Shall We Dance is the best known of Gershwin’s film scores and includes the Academy Award-nominated song\, “They Can’t Take That Away From Me.” The movie features Fred Astaire and Ginger Rogers in one of their timeless dance fantasies. The excerpt on tonight’s program has become a stand-alone work with a variety of arrangements’ this version for orchestra was first published in 1960. The music corresponds to a scene in which Fred Astaire “borrows” a dog so he can walk it along the deck of a luxury liner as a pretext for meeting Ginger Rogers\, who is also walking a dog. \n\n\n\nWYNTON MARSALISConcerto in D for Violin and Orchestra  COMPOSER: born October 18\, 1961\, New Orleans\, LAWORK COMPOSED: 2015-15\, for violinist Nicola BenedettiWORLD PREMIERE: Benedetti performed the solo part with conductor James Gaffigan and the London Symphony Orchestra on November 6\, 2015\, in Barbican Hall\, LondonINSTRUMENTATION: solo violin\, 3 flutes (1 doubling piccolo)\, 3 oboes (1 doubling English horn)\, 2 clarinets\, bass clarinet\, 3 bassoons (1 doubling contrabassoon\, 4 horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, percussion\, harp and strings ESTIMATED DURATION: 44 minutes Wynton Marsalis is an internationally acclaimed musician\, composer/bandleader\, educator\, and a leading advocate of American culture. Born into a famous New Orleans family of musicians and educators\, Marsalis began playing trumpet at age six. In his teens\, Marsalis studied at Tanglewood and Juilliard and toured with acclaimed bandleader Art Blakey and his Jazz Messengers. In 1983\, at age 22\, Marsalis became the first and only musician to win Grammy awards in classical and jazz categories in the same year. He repeated his wins in both categories the following year. \n\n\n\nAs a composer\, Marsalis has created and performed an expansive range of music across multiple genres: quartets\, big bands\, chamber music ensembles\, symphony orchestras\, and has created music for tap to ballet dancers\, all the while expanding the vocabulary for jazz and classical music. In 1997\, Marsalis’ oratorio Blood on the Fields became the first jazz composition to win the Pulitzer Prize in Music. Since 1996\, Marsalis has served as the director of Jazz at Lincoln Center. In this role\, as in his many and varied other activities\, Marsalis has become the foremost ambassador for jazz and American music in the United States. \n\n\n\nMarsalis composes his solo works for specific performers\, rather than instruments. His 2015 Violin Concerto was written for Scottish violinist Nicola Benedetti. Marsalis writes\, “It takes inspiration from her life as a traveling performer and educator who enlightens and delights communities all over the world with the magic of virtuosity… Nicky asked me to ‘invite a diverse world of people into the experience of this piece’… Finding and nurturing common musical ground between differing arts and musical styles has been a lifetime fascination of mine… It may seem simple enough\, but bringing different perspectives together is never easy. The shared vocabulary between the jazz orchestra and the modern orchestra sits largely in the areas of texture and instrumental technique. Form\, improvisation\, harmony\, and methods of thematic development are very different. The biggest challenges are how to orchestrate the nuance and virtuosity in jazz and blues for an ensemble not versed in those styles (a technical issue); and how to create a consistent groove without a rhythm section (a musical/philosophical issue). \n\n\n\nMarsalis explored historical cultural and musical connections between Benedetti’s Scottish roots and his own as an African-American bluesman from New Orleans. “I looked for real-life examples in the history of jazz–symphonic collaborations and to the environment and experience that connect Nicky and me. I considered aspects of her Scottish ancestry\, the great Afro-American abolitionist Frederick Douglass’ love of legendary Scottish poet Robert Burns\, my love and inextinguishable respect for Scottish baritone saxophonist Joe Temperley (and his gleeful recitation of pungent limericks)\, and the luminous but obscure achievements of Afro-American keyed bugler Francis Johnson\, father of the American cornet tradition and one of the first published American composers…who was also a fine fiddler. These sources led me to reconnect with the Anglo-Celtic roots of Afro-American music.” \n\n\n\nEach of the four movements is an aspect of a musical journey\, as the violinist takes us to an eclectic range of places and soundscapes. “Rhapsody is a complex dream that becomes a nightmare\, progresses into peacefulness and dissolves into ancestral memory\,” Marsalis writes. “Rondo Burlesque is a syncopated\, New Orleans jazz\, calliope\, circus clown\, African gumbo\, Mardi Gras party in odd meters. Blues is the progression of flirtation\, courtship\, intimacy\, sermonizing\, final loss\, and abject loneliness that is out there to claim us all. Hootenanny is a raucous\, stomping and whimsical barnyard throw-down. She excites us with all types of virtuosic chicanery and gets us intoxicated with revelry and then… goes on down the Good King’s highway to other places yet to be seen or even foretold. As in the blues and jazz tradition\, our journey ends with the jubilance and uplift of an optimistic conclusion.” \n\n\n\nPYOTR ILYICH TCHAIKOVSKYSymphony No. 6 in B minor\, Op. 74\, “Pathétique” \n\n\n\nCOMPOSER: born May 7\, 1840\, Kamsko-Votinsk\, Viatka province\, Russia; died November 6\, 1893\, St. PetersburgWORK COMPOSED: 1893; dedicated to Tchaikovsky’s nephew Vladimir “Bob” DavidovWORLD PREMIERE: Tchaikovsky conducted the first performance on October 28\, 1893\, at the Hall of the Nobles in St. PetersburgINSTRUMENTATION: 3 flutes (1 doubling piccolo) 2 oboes\, 2 clarinets\, (1 doubling bass clarinet)\, 2 bassoons\, 4 horns\, 2 trumpets\, 3 trombones\, tuba\, timpani\, bass drum\, cymbals\, tam-tam\, and strings.ESTIMATED DURATION: 44 minutes \n\n\n\n“I love it as I have never loved any one of my musical offspring before.” – Tchaikovsky on his Sixth Symphony Pyotr Ilyich Tchaikovsky’s Sixth Symphony continues to spark debate more than 130 years after its composition. In a letter to his nephew Vladimir Davidov\, Tchaikovsky wrote\, “Last December I had the idea of writing a program symphony\, but to a program that should remain an enigma to everyone but myself… I certainly regard it as quite the best – and certainly the ‘most sincere’ – of all my work.” Although Tchaikovsky declined to articulate the specifics of the program he attached to this symphony – “Let them guess at it!” he wrote to Davidov – many scholars and critics agree that this passionate\, highly emotional music is a declaration of forbidden love; specifically\, that of Tchaikovsky for Davidov. Tchaikovsky’s title for the symphony supports this idea. According to scholar Alexander Poznansky\, Tchaikovsky’s title\, ‘Pateticheskaya simfoniya’ (ПатетичеÑ_x0081_каÑ_x008f_ Ñ_x0081_имфониÑ_x008f_)\, is “roughly equivalent to the title that Beethoven gave to his Sonata in F minor\, Op. 57—’Apassionata.’ The passionate overtones of the Russian title are not adequately conveyed in its better-known French equivalent – ‘Symphonie pathétique\,’ with its connotations of suffering and sorrow.” Biographer John Warrack agrees: “The Russian word … carries more feeling of ‘passionate’ or ‘emotional’ in it than the English ‘pathetic\,’ and perhaps an overtone\, which has largely vanished from our world… of ‘suffering.’ \n\n\n\nAs a closeted homosexual man living in a homophobic society\, Tchaikovsky was well-acquainted with suffering. He also battled crippling bouts of depression throughout his life\, which were exacerbated by relentless societal pressures to keep his sexuality secret. Some years earlier\, in 1877\, Tchaikovsky encountered Antonina Ivanova Milyukova\, a former Conservatory student obsessed with her one-time professor. She sent Tchaikovsky several impassioned letters\, which alarmed the composer; eventually\, Milyukova threatened to kill herself if Tchaikovsky did not return her affection. This untenable situation\, combined with Tchaikovsky’s tortured feelings about his sexual orientation and his desire to silence gossip about it\, led to a hasty\, ill-advised union. Tchaikovsky fled from Milyukova a month after the wedding (their marriage officially ended after three months\, although they were never divorced). Tchaikovsky subsequently suffered a nervous breakdown and was unable to work for the next three years. \n\n\n\nThe Sixth Symphony’s Adagio-Allegro ma non-troppo begins with a forbidding bassoon solo sounding the primary theme. After the slow Adagio\, the strings burst in with an agitated restatement of the bassoon solo\, followed by a contrasting theme of melancholy nostalgia. The movement descends into chaos as the themes are developed\, ripped apart\, and jumbled in a tempest of sound. A solemn brass chorale with pizzicato string accompaniment draws the movement to a close. In the Allegro con grazia\, the strings present a graceful waltz in the unusual meter 5/4. Although the overall mood of this movement is lighter than that of the first\, Tchaikovsky infuses the music with a strong sense of sadness and hints of romantic despair. The vigorous march of the Allegro molto vivace offsets the melancholy of the first two movements. This powerful\, vigorous music boldly proclaims itself with insouciant swagger. Anguished cries from the strings begin the Adagio lamentoso-Andante. This music succumbs to its own beautifully crafted fatalism\, laden with pain and lamentation. The strings are interrupted by a blast from the brasses\, after which the strings continue on their mournful way to a subdued conclusion\, in which there is no hint of a happy ending. \n\n\n\nDespite Tchaikovsky’s status as the preeminent Russian composer of his time\, the premiere of the Sixth Symphony\, which he conducted\, was not an instant success. In a letter to his publisher\, Tchaikovsky wrote\, “It is very strange about this symphony. It was not exactly a failure\, but it was received with some hesitation.” Symphonies that end quietly often leave audiences puzzled or unsettled (Brahms’ Third has the same problem). After the second performance\, which took place just days after Tchaikovsky’s death\, the Sixth received an overwhelmingly positive ovation. The unconventional ending became\, in the ears of audiences and critics\, indelibly associated with the composer’s death – as if Tchaikovsky had written his own demise. There is no documentary evidence to support this idea\, but the romance of a composer writing his own musical epitaph has proved durable\, if inaccurate. The Sixth Symphony soon came to be regarded as a symphonic masterpiece and remains Tchaikovsky’s most popular symphony. \n\n\n\n © Elizabeth Schwartz \n\n\n\nNOTE: These program notes are published here by the Santa Rosa Symphony for its patrons and otherinterested readers. Any other use is forbidden without specific permission from author\, who may be contacted at www.classicalmusicprogramnotes.com. URL:https://www.srsymphony.org/event/jazz-greats-tchaikovsky/ CATEGORIES:Classical Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20220308T202313Z LAST-MODIFIED:20240209T023116Z UID:24886-1705536000-1705536000@www.srsymphony.org SUMMARY:Fantastique! DESCRIPTION:Concert Conversations with Francesco Lecce-Chong\n\n\n\nConcert Conversations are general seating and free to Classical Series concert ticket holders. Approximately 30 minutes in Weill Hall. \n\n\n\n\nSaturday\, October 1\, 2022 at 6:30 PM\n\n\n\nSunday\, October 2\, 2022 at 2:00 PM\n\n\n\nMonday\, October 3\, 2022 at 6:30 PM\n\n\n\n\nTickets\n\n\n\nSingle tickets available now. \n\n\n\n\nBuy Now!\n\n\n\n\nDo you want to become a Santa Rosa Symphony subscriber? \n\n\n\nPatron Services is ready and waiting to help you find the best package for you\, (707) 546-8742. \n\n\n\nClick here for subscription packages. Click here to see Subscriber Benefits.  \n\n\n\nFree Youth Tickets\n\n\n\nTo encourage their exposure to classical music and to transform Symphony attendance into a family outing\, youths 7-17 years of age may attend the Symphony for free with a paid adult. These two-for-one tickets are not available for purchase online and only applies to Classical Series concerts. To request tickets\, please contact Patron Services at (707) 546-8742.  \n\n\n\nEnhance Your Experience\n\n\n\n\n\n\n\nRead the 68-page Fall Edition Program Book \n\n\n\nRead & Print Program Notes    \n\n\n\nRead why the Symphony went digital \n\n\n\n \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\nListen on Spotify\n\n\n\n \n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\nClassical Concert Series underwritten by Anderman Family FoundationSponsored by Marcia Wagner in memory of Hap WagnerConductor Francesco Lecce-Chong sponsored by David and Corinne Byrd           Guest Artist Awadagin Pratt sponsored by Ava and Sam Guerrera  Discovery Open Rehearsal Series sponsored by The Stare Foundation and David Stare of Dry Creek VineyardPre-concert Talks sponsored by Jamei HaswellSeason Media Sponsor: The Press Democrat \n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nPhoto of Awadagin Pratt by Rob Davidson \n\n\n\nProgram notes by Elizabeth Schwartz \n\n\n\n\nLudwig Van Beethoven – Overture to Die Geschöpfe des Prometheus\, Op. 43 (The Creatures of Prometheus)\nWriting music for theatrical purposes held little interest for Ludwig van Beethoven. Aside from his opera Fidelio and incidental music for a few plays (including Coriolanus and Egmont)\, Beethoven was primarily an orchestral and chamber music composer. The Creatures of Prometheus is Beethoven’s only ballet; his frustration with its egotistical choreographer Salvatore Viganò\, the Empress Maria Theresa’s court ballet master\, effectively squelched any further interest he may have had in the genre. \n\n\n\nBeethoven was initially drawn to the ballet’s central figure\, the Titan Prometheus. According to Greek mythology\, Prometheus defied the gods by bringing literacy and the arts to humanity\, as well as the basic element of fire. Such a heroic symbol appealed to Beethoven\, who saw in Prometheus qualities of his own personality: a native rebelliousness and idealistic nature. (In the story\, Zeus punished Prometheus for his arrogance by chaining him to Mt. Olympus and causing a vulture to tear out his liver; each day the liver was magically renewed so the voracious raptor could continue feasting. Prometheus endured this punishment until Hercules scaled the mountain and killed the vulture). \n\n\n\nBeethoven and Viganò’s ideas about The Creatures ofPrometheus clashed. Viganò was more interested in showing off his skill and that of his wife\, Mademoiselle Cassentini\, herself a noted dancer than in portraying the Prometheus story. Accordingly\, Viganò outlined a plot in which Prometheus becomes a peripheral generic “creator.” Two of his “creatures\,” (statues\, in this case\, portrayed by Viganò and his wife) come to life and are thereby given consciousness and enlightenment by the god Apollo at Parnassus. The two statues become the focus\, while Prometheus himself is largely ignored. \n\n\n\nFor Beethoven\, the whole appeal of this ballet lay in the character of Prometheus himself. He had no interest in writing a musical vehicle for Viganò and his wife to parade their talents. An early admirer of Napoleon\, Beethoven also saw in Prometheus qualities he associated with the French general. Napoleon styled himself as an Age of Enlightenment knight in shining armor who rescued the downtrodden; his actions echoed the battle cry of the French Revolution\, “Liberty\, Equality\, Fraternity.” Inspired by Napoleon’s early career\, Beethoven began writing in 1803 what became his Third Symphony. The “Eroica\,” to whom he dedicated it (Beethoven later repudiated Napoleon and removed the dedication from the score after he heard the news in the spring of 1804 that Napoleon had declared himself Emperor of France). \n\n\n\nThe music of the Overture opens with several chords full of anticipatory tension\, followed by a slow introduction. After the introduction\, the music shifts without pause to the main thematic material\, which is full of the lively rhythmic energy that became Beethoven’s trademark. Neither the complete music for the ballet nor the ballet itself is performed today; only the overture survives in the orchestral repertoire. \n\n\n\n\nAngélica Negrón\nCOMPOSER: born 1981\, San Juan\, Puerto RicoWORK COMPOSED: 2015\, for the American Composers OrchestraWORLD PREMIERE: The ACO gave the first performance on October 16\, 2015\, at the Brookfield Place Winter Garden in New York CityINSTRUMENTATION: 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, 4 horns\, 2 trumpets\, 2 trombones\, tuba\, bass drum\, glockenspiel\, mechanical percussion\, tam-tam\, vibraphone\, MIDI keyboard\, harp and stringsESTIMATED DURATION: 6.5 minutes \n\n\n\nPuerto Rican-born composer and multi-instrumentalist Angélica Negrón writes music for accordions\, robotic instruments\, toys and electronics\, as well as for chamber ensembles\, orchestras\, choirs and film. Her music has been described as “wistfully idiosyncratic and contemplative” (WQXR/Q2)\, while The New York Times noted her “capacity to surprise.” \n\n\n\nMe he perdido was commissioned by the American Composers Orchestra; in the music\, Negrón incorporates several robotic or mechanical instruments which are situated amongst the audience and play with the orchestra. In an interview after the premiere\, she talked about how the role of these mechanical percussion instruments evolved. “The robotic instruments gradually revealed a dynamic life of their own that changed the way I wrote for them\,” she explained. “I started realizing the spatial potential of the robotic instruments and how\, given their placement amongst the audience\, they could be more direct in their immediacy because of their proximity to the listeners.” The location of the premiere also influenced Negrón’s approach to composing the music. “As soon as I heard the piece I was writing for ACO was going to be premiered at Brookfield Place’s Winter Garden\, I knew I wanted to incorporate some kind of installation-based instruments that could somehow connect the orchestra with the audience in an immersive and engaging way… The instrumental writing of the piece was also highly influenced by the space’s reverberation\, so there’s a lot of echoing gestures and resonant chords that will hopefully benefit from the natural acoustics of the space.” \n\n\n\nTo realize her acoustic ideas\, Negrón teamed up with instrument builder Nick Yulman\, who created the mechanical percussion instruments for Me he perdido. These robotic instruments\, or modules\, incorporate traditional Indonesian gamelan (tuned brass percussion vessels in various sizes) together with samples of woks and pans from Negrón’s kitchen. The result is an ethereal soundscape that incorporates resonance\, sound decay\, and silence as fundamental aspects of the total sound.  \n\n\n\n\nWolfgang Amadeus Mozart – Piano Concerto No. 23 in A major\, K. 488\n \n\n\n\nCOMPOSER: born January 27\, 1756\, Salzburg; died December 5\, 1791\, ViennaWORK COMPOSED: Mozart may have begun composing this concerto in 1784. In the catalog of works he began keeping that year\, Mozart noted that he completed it on March 2\, 1786\, in ViennaWORLD PREMIERE: Most likely in March 1786 at a Lenten concert in Vienna\, although the exact date and other details of the premiere performance are undocumented. As with most of his concertos\, Mozart wrote this one as a subscription concert to generate income; whenever it premiered\, Mozart would have conducted it from the keyboard and performed the solo part.INSTRUMENTATION: solo piano\, flute\, 2 clarinets\, 2 bassoons\, 2 horns and stringsESTIMATED DURATION: 26 minutes Wolfgang Amadeus Mozart wrote the majority of his piano concertos during the 1780s\, and\, as was his habit\, he often worked on several compositions simultaneously. Such is the case with the Piano Concerto No. 23 in A major\, K. 488\, one of three piano concertos (along with the E flat\, K. 482 and the C minor\, K. 491) Mozart wrote at the same time as his opera\, The Marriage of Figaro. \n\n\n\nOn first inspection\, there seems little similarity between K. 488\, a lyrical\, reflective work\, and the exuberant silliness that embodies much of Figaro. However\, a closer look reveals some interesting parallels between the concerto and the opera. There are moments in Figaro\, particularly the Countess’ poignant aria\, “Porgi amor\,” in which she laments her loveless marriage\, and in the finale when the Count begs forgiveness\, which echoes the emotional depth and tenderness of the concerto. Correspondingly\, passages in the concerto\, particularly in the Adagio\, are vocal – if not operatic – in both construction and conception. \n\n\n\nWhen performing\, Mozart improvised cadenzas for all his concertos\, although many do not survive in written form. Other composers\, most notably Ludwig van Beethoven\, composed and notated cadenzas for several of Mozart’s piano concertos. Mozart’s original cadenza for K. 488 not only survives but also was notated directly into the score. \n\n\n\nK. 488 stands out for other reasons. Although oboes were standard instruments in 18th-century orchestras\, Mozart uses clarinets in K. 488 instead. Mozart loved the sound of this instrument\, and its dark round tone adds a pensive\, melancholy quality to the orchestration\, particularly the Adagio. Mozart also abandoned typical piano concerto conventions by writing the Adagio in a minor key. Mozart’s choice of a minor tonality\, and the particular key itself\, F-sharp minor\, were rare departures from his usual practice\, and lend poignancy to this music.K. 488 was published in 1800; throughout most of the 19th century\, it was one of only a few of Mozart’s concertos to be performed. It became\, and remains\, one of Mozart’s most popular and beloved works. \n\n\n\n\nHector Berlioz – Symphonie fantastique (Fantastic Symphony)\, Op. 14\n \n\n\n\nCOMPOSER: born December 11\, 1803\, La Côte-Saint-André\, Isère\, France; died March 8\, 1869\, Paris.WORK COMPOSED: Between January and April of 1830\, although some of the material Berlioz included was written as early as 1819.WORLD PREMIERE: François-Antoine Habeneck conducted the premiere in Paris on December 5\, 1830. Two years later\, on December 9\, 1832\, Habeneck\, with Berlioz in the orchestra playing timpani\, conducted a substantially revised version\, also in Paris.INSTRUMENTATION: 2 flutes (one doubling piccolo)\, 2 oboes (one doubling English horn)\, 2 clarinets\, 4 bassoons\, 4 horns\, 2 trumpets\, 2 cornets\, 3 trombones\, 2 tubas (ophicleides)\, 2 sets of timpani\, bass drum\, cymbals\, bells\, snare drum\, 2 harps and strings.ESTIMATED DURATION: 49 minutes Say what you want about Hector Berlioz: he was an arrogant\, selfish\, self-obsessed man\, full of vitriol (try reading his music criticism sometime)\, and he drove poor Harriet Smithson\, the inspiration for his Symphonie fantastique\, who was so unfortunate as to marry him\, to drink and despair. All true\, to be sure\, but none of Berlioz’ deficits as a human being take away from the fact that at age 27\, he wrote\, by general agreement\, the most astonishing and groundbreaking first symphony any composer has yet produced. \n\n\n\nThis feat is all the more surprising when we realize that Berlioz completed his Symphonie fantastique just three years after Beethoven’s death. When heard in that context\, it is possible to appreciate how truly original this music is. Berlioz was no doubt inspired by Beethoven’s symphonic innovations\, especially Beethoven’s use of a program in his Sixth (Pastoral) Symphony\, but\, typically\, Berlioz pushed the programmatic elements further than any composer had previously done. \n\n\n\nBerlioz’ inspiration for the Symphonie fantastique was born from his obsession with Smithson\, an Irish actress he first saw in a production of Hamlet in 1827. Berlioz spoke almost no English\, so it seems clear that his violent infatuation with Smithson was carnal rather than courtly. (Berlioz and Smithson did not meet for another five years\, after the premiere of the revised version of the Symphonie.) \n\n\n\nWhat made Berlioz’ program so innovative and shocking to his audiences was the extent to which the story was overtly autobiographical and literary. Along with Smithson\, who was musically transformed into the idée fixe\, or recurring theme\, of the symphony\, Berlioz drew on plots from literature\, most notably Faust\, in his exploration of the ruinous and glorious nature of love. What audiences\, both then and now\, often misunderstood was the quintessentially romantic nature of Berlioz’ program. He was not interested in a literal depiction of events\, but rather the transformation of his emotional response to those events into music. \n\n\n\nBerlioz insisted that his music could not be understood or appreciated without its accompanying program\, which he provided to audiences at the first performances of the work. Its five movements\, in roughest outline\, proceed as follows: Part I: Dreams – Passions: Boy meets girl. Part II: A Ball: Boy obsesses about the girl. Part III: A Scene in the Country: While strolling about the countryside listening to shepherds’ songs\, the boy convinces himself girl doesn’t return his love. Part IV: March to the Scaffold: In despair\, the boy takes a less-than-fatal dose of opium\, enough to induce horrible visions and hallucinations\, including a death march to the guillotine. Part V: Dream of a Witches’ Sabbath: Still hallucinating\, the boy dreams his funeral is a witches’ Sabbath\, and his beloved joins in the diabolical festivities. Or\, as Leonard Bernstein so eloquently put it\, in one of his Young Peoples’ Concerts\, “Berlioz tells it like it is… You take a trip\, you wind up screaming at your own funeral.”  \n\n\n\n\n\n © Elizabeth Schwartz \n\n\n\nNOTE: These program notes are published here by the Santa Rosa Symphony for its patrons and otherinterested readers. Any other use is forbidden without specific permission from author\, who may be contacted at www.classicalmusicprogramnotes.com. URL:https://www.srsymphony.org/event/fantastique/ CATEGORIES:Classical Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20210708T170554Z LAST-MODIFIED:20240119T222254Z UID:24885-1705536000-1705536000@www.srsymphony.org SUMMARY:Jurassic Park - In Concert DESCRIPTION:Ticket Information\n\n\n\nTickets for Jurassic Park – In Concert will be available to purchase starting July 29 at 10 AM. \n\n\n\nTickets for this event are available through the Green Music Center box office. The Santa Rosa Symphony is not selling tickets for this concert. \n\n\n\nTo purchase tickets\, please call (707) 664-4246 or visit the GMC website. \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\n  \n\n\n\nHealth and Safety\n\n\n\nPrior to purchasing tickets and attending the concert\, please visit the Green Music Center website for their latest COVID-19 policy.  \n\n\n\nSupported in part by:\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n© Universal City Studios LLC and Amblin Entertainment\, Inc. All Rights Reserved. \n\n\n\nNot available for this concert. URL:https://www.srsymphony.org/event/jurassic-park-in-concert/ CATEGORIES:Special Event END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20210707T235540Z LAST-MODIFIED:20240119T221457Z UID:24884-1705536000-1705536000@www.srsymphony.org SUMMARY:SRSYO - Bon Voyage DESCRIPTION:Ticket Information\n\n\n\nPre-concert (must be purchased by 11 am on the Friday before the concert)Adult: $15Youth: $5 \n\n\n\nAt the doorAdult: $20Youth: $10 \n\n\n\nGroup sale tickets available for 10+ people. Must be purchased in advance. No group sale tickets at the door. $10/ticket. \n\n\n\nTo order tickets: please call Patron Services at (707) 546-8742 or visit our Buy Tickets page \n\n\n\nTickets are subject to a $2/ticket fee.All tickets are nonrefundable.Programs\, dates\, artist\, prices and COVID-19 protocols are subject to change without notice. Tickets are subject to availability. \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\nHealth & Safety\n\n\n\nMasks are optional\, but recommended. \n\n\n\nAdults 18 +:Photo I.D. and one of the following: \n\n\n\n\nProof of vaccination\n\n\n\nNegative COVID PCR test (taken by a laboratory within 72 hours prior to performance). \n\n\n\n\nThe name on the document must match the photo I.D. \n\n\n\nAges 7-17:No requirements. \n\n\n\nPlease stay home if… \n\n\n\n\nYou are sick or have any of the following symptoms: fever\, sore throat\, chills\, cough\, shortness of breath\, congestion\, nausea\, or vomiting.\n\n\n\nYou’ve been in close contact with an individual diagnosed with COVID-19 or exhibiting COVID-19 symptoms within the past 14 days.\n\n\n\nYou’ve been directed to self-isolate or quarantine by a health care provider or public health official.\n\n\n\nYou are awaiting the results of a COVID-19 PCR test.\n\n\n\n\nCOVID-19 protocols are subject to change.Click here to read all COVID-19 health and safety information. \n\n\n\n \n\n\n\nPhotos by Susan and Neil Silverman Photography \n\n\n\nNot available for this concert. URL:https://www.srsymphony.org/event/srsyo-bon-voyage/ CATEGORIES:Youth Ensemble END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20210707T234751Z LAST-MODIFIED:20240119T200442Z UID:24883-1705536000-1705536000@www.srsymphony.org SUMMARY:SRSYO - Great Concertos DESCRIPTION:Program\n\n\n\nGiuseppe Verdi: Overture to NabuccoW.A. Mozart: Horn Concerto No. 3 in E-Flat Major\, K. 447Edward Elgar: Cello Concerto\, Op. 85\, Movement I.Antonin Dvoå˜ã_X0081_K: symphony No. 8\, Movement Iii. and Iv.Arturo Mã_X0081_Rquez: danz ón No. 2 \n\n\n\nW.A. Mozart Horn Concerto features 2022 Concerto Competition winner\, Jason WhitneyEdward Elgar Cello Concerto features 2021 Concerto Competition winner\, Gwendolyn Przyjazna  \n\n\n\nTicket Information\n\n\n\nPre-concert (must be purchased by 11 am on the Friday before the concert)Adult: $15Youth: $5 \n\n\n\nAt the doorAdult: $20Youth: $10 \n\n\n\nGroup sale tickets available for 10+ people. Must be purchased in advance. No group sale tickets at the door. $10/ticket. \n\n\n\nTo order tickets: please call Patron Services at (707) 546-8742 or visit our Buy Tickets page \n\n\n\nTickets are subject to a $2/ticket feeAll tickets are nonrefundable.Programs\, dates\, artist\, prices and COVID-19 protocols are subject to change without notice. Tickets are subject to availability.  \n\n\n\nHealth & Safety\n\n\n\nMasks are optional\, but recommended. \n\n\n\nAdults 18 +:Photo I.D. and one of the following: \n\n\n\n\nProof of vaccination\n\n\n\nNegative COVID PCR test (taken by a laboratory within 72 hours prior to performance). \n\n\n\n\nThe name on the document must match the photo I.D. \n\n\n\nAges 7-17:No requirements. \n\n\n\nPlease stay home if… \n\n\n\n\nYou are sick or have any of the following symptoms: fever\, sore throat\, chills\, cough\, shortness of breath\, congestion\, nausea\, or vomiting.\n\n\n\nYou’ve been in close contact with an individual diagnosed with COVID-19 or exhibiting COVID-19 symptoms within the past 14 days.\n\n\n\nYou’ve been directed to self-isolate or quarantine by a health care provider or public health official.\n\n\n\nYou are awaiting the results of a COVID-19 PCR test.\n\n\n\n\nCOVID-19 protocols are subject to change.Click here to read all COVID-19 health and safety information. \n\n\n\nBanner photo by Susan and Neil Silverman Photography \n\n\n\nNot available for this concert. URL:https://www.srsymphony.org/event/srsyo-great-concertos/ CATEGORIES:Youth Ensemble END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20210707T233734Z LAST-MODIFIED:20240119T222545Z UID:24882-1705536000-1705536000@www.srsymphony.org SUMMARY:SRSYO - Memorable Melodies DESCRIPTION:Program\n\n\n\nWest County High School Orchestra\n\n\n\nGustav Holst: Jupiter from The Planets\, Op.32 (arr. Deborah Baker Monday)Merle J. Isaac: quinto-Quarto SuiteModest Mussorgsky: Hopak from The Fair at Sorochinsk (arr. by Merle J. Isaac)  \n\n\n\nSanta Rosa Symphony Youth Orchestra\n\n\n\nAntonin Dvořák: symphony No. 8\, Ii. AdagioLudwig Van Beethoven: violin Concerto in D Major\, Op. 61\, I. Allegro Ma Non TroppoAaron Copland: four Dance Episodes from Rodeo\, I. Buckaroo Holiday\, Iv. Hoe-DownLudwig Van Beethoven Violin Concerto Features Guest Soloist Aaron Westman. \n\n\n\nCombined Orchestras\n\n\n\nCamille Saint-Saens: Marche Militaire Francais  \n\n\n\n\n\n\n\nTicket Information\n\n\n\nPre-concert (must be purchased by 11 am on the Friday before the concert)Adult: $15Youth: $5 \n\n\n\nAt the doorAdult: $20Youth: $10 \n\n\n\nGroup sale tickets available for 10+ people. Must be purchased in advance. No group sale tickets at the door. $10/ea. \n\n\n\nTo order tickets: please call Patron Services at (707) 546-8742 or visit our Buy Tickets page \n\n\n\nTickets are subject to a $2/ticket fee.All tickets are nonrefundable.Programs\, dates\, artist\, prices and COVID-19 protocols are subject to change without notice.Tickets are subject to availability.  \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\nHealth & Safety\n\n\n\nAdult Patrons and youth 7 years of age and older:  \n\n\n\n\nMasks are required in keeping with CDC recommendations and Sonoma State guidelines and must cover mouth and nose at all times.\n\n\n\nPhoto ID is required (waived for children accompanied by parent) \n\n\n\n\nAND one of the following: \n\n\n\n\nProof of vaccination (See COVID Updates page for acceptable forms)\n\n\n\nNegative COVID PCR test (48 hours prior to performance) The test must be conducted by a laboratory. \n\n\n\n\nPatrons ages 3 to 6:Mask and\, if unvaccinated\, an at-home antigen test taken on the day of the event.Please note that at-home tests are only permitted for ages 3-6. \n\n\n\nPatrons under 3: Mask required for age 2 and older. No tests or proof of vaccination is required. \n\n\n\nClick here to read all COVID-19 health and safety information. \n\n\n\nPhotos by Susan and Neil Silverman Photography \n\n\n\nNot available for this concert. URL:https://www.srsymphony.org/event/srsyo-memorable-melodies/ CATEGORIES:Youth Ensemble END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20210707T222503Z LAST-MODIFIED:20240119T221445Z UID:24881-1705536000-1705536000@www.srsymphony.org SUMMARY:SRSYO - Back in the Saddle Again DESCRIPTION:Ticket Information\n\n\n\nPre-concert (must be purchased by 11 am on the Friday before the concert)Adult: $15Youth: $5 \n\n\n\nAt the doorAdult: $20Youth: $10 \n\n\n\nGroup sale tickets available for 10+ people. Must be purchased in advance. No group sale tickets at the door. $10/ea. \n\n\n\nTo order tickets: please call Patron Services at (707) 546-8742 or visit our Buy Tickets page \n\n\n\nTickets are subject to a $2/ticket feeAll tickets are nonrefundable. \n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\n\n\n\n\nHealth & Safety requirements for SRS Youth Orchestra concerts\n\n\n\nPlease read carefully. \n\n\n\nAdult Patrons and youth 7 years of age and older: Mask are requiredPhoto ID is required (waived for children accompanied by parent) AND one of the following: \n\n\n\n\nProof of vaccination (See COVID Updates page for acceptable forms)\n\n\n\nNegative PCR COVID test (72 hours prior to performance)\n\n\n\n\nPatrons ages 3 to 6:Mask and negative rapid antigen test taken within 6 hours of the event\, either at home or by a laboratory. \n\n\n\nPatrons under 3: Mask required for age 2 and older. No tests or proof of vaccination are required. \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\nConcert sponsored by Umpqua Bank \n\n\n\n\n\n\n\nPhotos by Susan and Neil Silverman Photography \n\n\n\nNot available for this concert. URL:https://www.srsymphony.org/event/srsyo-back-in-the-saddle-again/ CATEGORIES:Youth Ensemble END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20210704T153618Z LAST-MODIFIED:20240119T224354Z UID:24879-1705536000-1705536000@www.srsymphony.org SUMMARY:Valley of the Moon DESCRIPTION: \n\n\n\n \n\n\n\nConversations with Francesco Lecce-Chong\n\n\n\nConcert Conversations are general seating and free to Classical Series concert ticket holders. Approximately 30 minutes in Weill Hall. \n\n\n\n\nSaturday\, May 7\, 2022 at 6:30 PM\n\n\n\nSunday\, May 8\, 20222 at 2:00 PM\n\n\n\nMonday\, May 9\, 2022 at 6:30 PM\n\n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\nCovid Protocols for This Concert\n\n\n\nPlease note: COVID-19 protocols are subject to change. \n\n\n\nMasks are optional\, but recommended. \n\n\n\nAdults 18 +:Photo I.D. and one of the following: \n\n\n\n\nProof of vaccination\n\n\n\nNegative COVID PCR test (taken by a laboratory within 72 hours prior to performance). \n\n\n\n\nThe name on the document must match the photo I.D. \n\n\n\nAges 7-17:No requirements. \n\n\n\nPlease stay home if… \n\n\n\n\nYou are sick or have any of the following symptoms: fever\, sore throat\, chills\, cough\, shortness of breath\, congestion\, nausea\, or vomiting.\n\n\n\nYou’ve been in close contact with an individual diagnosed with COVID-19 or exhibiting COVID-19 symptoms within the past 14 days.\n\n\n\nYou’ve been directed to self-isolate or quarantine by a health care provider or public health official.\n\n\n\nYou are awaiting the results of a COVID-19 PCR test.\n\n\n\n\nClick here for Ticket Policies regarding COVID-19. \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\nClassical Concert Series underwritten by Anderman Family Foundation Composer Michael Daugherty underwritten by Nancy and Robert NovakElina Vähälä underwritten by Linda and David Hanes Discovery Open Rehearsal Series sponsored by The Stare Foundation and David Stare of Dry Creek VineyardPre-concert Talks sponsored by Jamei Haswell and Richard GrundySeason media sponsor: The Press Democrat \n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nPhoto of Elina Vähälä by Laura RiiheläPhoto of Michael Daugherty by ​Yopie Prins \n\n\n\n\n\n\n\nMay 2022 Program Notes by Elizabeth Schwartz\n\n\n\n\nJohann Strauss II\nOverture to Die Fledermaus [The Bat]\, Opus 367COMPOSER: born October 25\, 1825\, Vienna; died June 3\, 1899\, ViennaWORK COMPOSED: 1874WORLD PREMIERE: April 5\, 1874\, in the Theater an der WienINSTRUMENTATION: 2 flutes (1 doubling piccolo)\, 2 oboes\, 2 clarinets\, 2 bassoons\, 4 horns\, 2 trumpets\, 3 trombones\, timpani\, bass drum\, orchestra bells\, snare drum\, triangle and strings.ESTIMATED DURATION: 9 minutes The name Strauss is synonymous with the Viennese waltz\, and the combined efforts of this illustrious family made the waltz the most popular dance of all time. Headed by Johann Strauss the Elder\, they included his oldest son Johann Strauss the Younger\, known as “The Waltz King\,” and his younger sons Josef and Eduard. The achievements of the Strausses began with Johann the Elder’s successful tours in the 1820s and 1830s with the Strauss Orchestra\, performing his own waltzes throughout Europe. In 1833\, a critic hailed Strauss the Elder as “the Mozart of the waltz\, the Beethoven of the cotillons\, the Paganini of the galop\, the Rossini of the potpourri.” Thanks to the efforts of Strauss and his sons\, the waltz was performed as much in the concert hall as on the dance floor. \n\n\n\nJohann Strauss the Younger eclipsed his father and brothers to become the “The Waltz King.” His father did not want his sons to become musicians\, but Johann the Younger studied violin in secret\, and\, like his father\, performed with his own orchestra. It was only after Johann the Elder’s death in 1849 that Strauss the Younger was able to fully establish himself as a composer and conductor. Between 1860-1870\, he wrote the majority of his most famous waltzes\, including the Blue Danube Waltz and Tales from the Vienna Woods (1868). In 1863\, he was appointed Hofballmusikdirektor (music director for court dances) and handed over his conducting duties of the Strauss Orchestra to his brother Josef. After 1870\, Johann II turned his attention to stage music and light opera\, of which Die Fledermaus (The Bat) is his most well-known work. \n\n\n\nDie Fledermaus’ plot centers around a lavish costume ball. In a manner reminiscent of Mozart’s Marriage of Figaro\, numerous love triangles and mistaken identities occur at the festivities\, where the title character\, Eisenstein\, dresses up as a bat. Eisenstein’s bat costume conceals him from his wife Rosalinde and her maid Adèle\, whose identities are also hidden by their costumes. All confusion is resolved the following morning\, as the revelers toast to “King Champagne.” \n\n\n\nAlthough the audience enjoyed the comedic twists and engaging music\, critics despised Die Fledermaus. Eduard Hanslick dismissed it as “a potpourri of waltz and polka motives\,” and another reviewer described Strauss’ talent as “limited.” Limited or not\, the audience took to the opera immediately\, as another reviewer observed: “One could get seasick in the orchestra stalls\, as the people were swaying from side to side with the enchanting melodies.”  \n\n\n\n \n\n\n\n\nErich Wolfgang Korngold\nConcerto in D major for Violin and Orchestra\, Opus 35 COMPOSER: born May 29\, 1897\, Vienna; died November 29\, 1957\, HollywoodWORK COMPOSED: 1937-1945. Commissioned by violinist Bronislaw Huberman. Dedicated to Alma Mahler-Werfel (Gustav Mahler’s widow).WORLD PREMIERE: February 15\, 1947. Vladimir Golschmann led the St. Louis Symphony with Jascha Heifetz as soloist.INSTRUMENTATION: solo violin\, 2 flutes (one doubling piccolo)\, 2 oboes (one doubling English horn)\, 2 clarinets\, bass clarinet\, 2 bassoons (one doubling contrabassoon)\, 4 horns\, 2 trumpets\, trombone\, timpani\, bass drum\, cymbals\, glockenspiel\, vibraphone\, xylophone\, celesta\, harp and strings.ESTIMATED DURATION: 24 minutes Erich Korngold was a man out of time. Had he been born a century earlier\, his musical sensibilities would have aligned perfectly with the musical and artistic aesthetics of the Romantic period. Instead\, Korngold grew up in the tumult of the early 20th century\, when the Romanticism of the 19th century had been eclipsed by the horrors of World War I and the stark modernist trends of fellow Viennese composers Arnold Schoenberg\, Alban Berg and Anton Webern. \n\n\n\nKorngold’s prodigious compositional talent emerged early. At age 10\, he performed his cantata Gold for Gustav Mahler\, whereupon the older composer called him a genius. When Korngold was 13\, just after his bar mitzvah\, the Austrian Imperial Ballet staged his pantomime The Snowman. Rumors about the music’s true author swirled around Vienna’s musical circles\, as some\, refusing to believe a 13-year-old could create such polished work\, claimed Korngold’s father Julius was the actual composer. Julius\, a renowned music critic\, pointed out the ridiculousness of him critiquing others’ music if he were in fact capable of writing music as good as his son’s. \n\n\n\nIn his teens\, Korngold received commissions from the Leipzig Gewandhaus Orchestra\, pianist Artur Schnabel performed his Opus 2 Piano Sonata on tour\, and Korngold began writing operas\, completing two full-scale works by age 18. When he was 23\, Korngold’s opera Die tote Stadt (The Dead City) brought him international renown; it was performed in 83 different opera houses. \n\n\n\nBy the end of 1919\, in response to the unspeakable carnage and chaos wrought by the war\, composers everywhere had found a new medium to express themselves: modernism. Music bristled with dissonance\, unexpected rhythms\, and often little that resembled a clear melody. Korngold’s music\, by contrast\, reflected the style of an earlier\, bygone era\, and his unabashed Romanticism was dismissed as hopelessly out of date. Fortunately for Korngold\, another forum for his lush\, lyrical style simultaneously emerged: film scores. In 1933\, director Max Reinhardt invited Korngold to write a score for his film adaptation of A Midsummer Night’s Dream. Korngold subsequently moved to Hollywood\, where he spent the next dozen years composing scores for 18 films\, including his Oscar-winning music for Anthony Adverse (1936) and The Adventures of Robin Hood (1938). \n\n\n\nWhile some composers and critics\, then as now\, regard film music as less significant than works written for the concert hall\, Korngold did not. “I have never drawn a distinction between music for films and for operas or concerts\,” he stated\, and his violin concerto bears this out. The concerto is a compilation of themes from several Korngold scores\, including Another Dawn (1937)\, Juárez (1939)\, Anthony Adverse and The Prince and the Pauper (1937). Korngold composed it for an old family friend\, Polish violinist BronisÅ‚aw Huberman. It was a running joke in the Korngold family that every time Huberman saw Korngold\, he would demand\, “Erich! Where’s my concerto?” At dinner one evening in Korngold’s house in Los Angeles\, Korngold responded to Huberman’s mock-serious question by going to his piano and playing the theme from Another Dawn. Huberman exclaimed\, “That’s it! That will be my concerto. Promise me you’ll write it.” Korngold complied\, but it was Jascha Heifetz\, another child prodigy\, who gave the first performance. In his own program notes for the premiere\, Korngold wrote\, “In spite of its demand for virtuosity in the finale\, the work with its many melodic and lyric episodes was contemplated rather for a Caruso of the violin than for a Paganini. It is needless to say how delighted I am to have my concerto performed by Caruso and Paganini in one person: Jascha Heifetz.” \n\n\n\nSt. Louis audiences loved the concerto\, but Korngold knew the gauntlet of New York critics were less likely to embrace it. Just as he expected\, New York savaged it. One critic from the New York Sun made an offhand quip that has become indelibly attached to the concerto’s narrative\, whether you agree with it or not: he termed the work “more corn than gold.” Such unanimous condemnation doomed the concerto to obscurity for some decades\, but over time\, violinists and conductors have come to see Korngold’s Concerto as both technically and artistically worthwhile. Since Korngold’s time\, the status of film composers has also risen\, thanks to the Academy Award-winning work of Bernard Hermann (Psycho)\, John Williams (the Star Wars\, Superman\, Raiders of the Lost Ark and Harry Potter franchises; Schindler’s List; Memoirs of A Geisha; amongst many others)\, Miklós Rózsa (The Thief of Bagdad\, countless film noir classics including Double Indemnity\, A Double Life and more)\, Ennio Morricone (many Italian spaghetti westerns\, including the iconic score for The Good\, The Bad\, and the Ugly\, The Mission and Cinema Paradiso\, among many others\, and\, more recently\, Icelandic composer Hildur Guðnadóttir\, whose From the Other Place was featured on our March concert (she also wrote the Oscar-winning score to 2019’s The Joker). Today\, performers\, audiences and critics tend to make fewer arbitrary distinctions among genres. Instead\, more people are embracing Duke Ellington’s eloquent assessment of what makes any music worthy of our attention: “If it sounds good\, it IS good.” \n\n\n\n\nClaude Debussy\nPrelude à l’après-midi d’un faune [Prelude to “The Afternoon of a Faun”] for Orchestra [after Mallarmé]\, L. 86 COMPOSER: born August 22\, 1862\, St. Germain-en-Laye\, France; died March 25\, 1918\, ParisWORK COMPOSED: 1892-94WORLD PREMIERE: Gustave Doret conducted the premiere at the Société Nationale de Musique in Paris on December 23\, 1894.INSTRUMENTATION: 3 flutes\, 2 oboes\, English horn\, 2 clarinets\, 2 bassoons\, 4 horns\, antique cymbals\, 2 harps and strings.ESTIMATED DURATION: 10 minutes \n\n\n\nWhen Prelude à l’Après-midi d’un faune was first performed in Paris in December 1894\, it sent musical shock waves around the world. Some 50 years after its premiere\, the late conductor and composer Pierre Boulez wrote\, “The flute of the Faun brought new breath to the art of music; what was overthrown was not so much the art of development as the very concept of form itself.”Claude Debussy’s revolutionary music is based on the Symbolist writer Stephane Mallarmé’s poem\, “Afternoon of a Faun\,” published in 1876. Both poem and music unfold without clear narrative; the kaleidoscopic nature of the text and music creates a succession of shifting moods and impressions\, rather than a straightforwardly linear tale. In Prelude à l’Après-midi d’un faune and much of Debussy’s other music from this period\, color and texture are the essential structural components of the music. When Mallarmé heard Faune for the first time\, he exclaimed\, “I was not expecting anything of this kind! This music draws out the emotion of my poem and gives it a background of warmer colors.” In Faune’s score\, Mallarmé inscribed this verse: “Sylvan of the first breath\,/If your flute were successful/In hearing all the light\,/It would exhale Debussy.”The compositional style Debussy employed in Faune came to be known as Impressionism\, after the style of the Impressionist painters. Essentially French in its conception\, Impressionistic music was seen as a direct challenge to the Germanic tradition\, with its emphasis on formal structure and forward motion generated by harmonic movement.At the premiere\, the audience reacted with such overwhelming enthusiasm that conductor Gustave Doret was forced to perform an encore. Unlike the audience\, critics were slower in catching on to the importance and brilliance of Debussy’s innovations. “[The Afternoon of a Faun] has a pretty sound\, but there is not the least truly musical idea in it; it is no more a piece of music than the palette on which a painter has been working is a picture\,” scoffed the musically conservative Camille Saint-Saëns. Saint-Saëns and other critics notwithstanding\, audiences quickly made Faune Debussy’s most popular and best-known orchestral work\, and it remains so today. While Mallarmé’s poem is lengthy and effusive\, at just under ten minutes\, Debussy’s music is concise\, while still effectively distilling and transforming Mallarmé’s sometimes heavy-handed imagery into subtle shades of color and texture. Mallarmé’s mythological faun is all lust and unrequited desire. He whiles away the languid torpor of a summer afternoon attempting to seduce two nymphs\, and later ponders the alluring power of music. Debussy made no attempt at a direct musical narrative; instead\, he explained that the music connected “the successive scenes in which the longings and desires of the faun pass in the heat of the afternoon.” The closest Debussy comes to a specific connection with Mallarmé’s images is the famous solo flute introduction (the faun’s panpipes)\, which recurs periodically throughout. Debussy’s music later inspired ballet dancer Vaslav Nijinsky\, who made it into an iconic ballet in 1912\, dancing the title role himself. Nijinsky’s choreography was groundbreaking\, incorporating movement and gestures inspired by ancient Greek amphoras. In the ballet’s final moments\, Nijinsky choreographed what may be the world’s first balletic orgasm\, thrusting his hips into one of the nymph’s discarded shawls left on the ground.   \n\n\n\n\nMichael Daugherty\nValley of the Moon for Orchestra (World premiere)COMPOSER: born April 28\, 1954\, Cedar Rapids\, IowaWORK COMPOSED: 2022WORLD PREMIERE: Performed May 7\, 2022\, by the Santa Rosa Symphony\, conducted by Music Director Francesco Lecce-Chong\, at the Green Music Center’s Weill Hall in Rohnert Park\, California.INSTRUMENTATION: Piccolo\, 2 flutes\, 2 oboes\, English horn\, 2 B-flat clarinets\, bass clarinet\, 2 bassoons\, contrabassoon\, 4 horns in F\, 3 trumpets in C\, 2 trombones\, bass trombone\, tuba\, timpani\, bass drum\, chimes\, finger cymbals\, glockenspiel\, large crash cymbals\, large woodblock\, piccolo snare drum\, vibraphone\, marimba\, harp and stringsESTIMATED DURATION: 30 minutesMultiple Grammy Award-winning composer Michael Daugherty has been praised by The Times (London) as “a master icon maker” with a “maverick imagination\, fearless structural sense\, and meticulous ear.” His orchestral music\, recorded by Naxos\, has received six Grammy Awards\, including Best Contemporary Classical Composition in 2011 for Deus ex Machina for Piano and Orchestra\, and in 2017 for Tales of Hemingway for Cello and Orchestra. Recent commissions include new orchestral works for the Pittsburgh Symphony Orchestra\, the Omaha Symphony\, the Santa Rosa Symphony and a concerto for violinist Anne Akiko Meyers. The League of American Orchestras ranks Daugherty as one of the 10 most performed living American composers.Born in 1954 in Cedar Rapids\, Iowa\, Michael Daugherty is the oldest of five brothers\, all professional musicians. They grew up in a musical household\, with a father who played the drums in dance bands and a mother who sang in musical theater productions. As a young man\, Daugherty studied composition with many of the preeminent composers of the 20th century\, including Jacob Druckman\, Earle Brown\, Bernard Rands and Roger Reynolds at Yale University (1980-1982)\, Betsy Jolas at the Paris Conservatory and Pierre Boulez at IRCAM in Paris (1979-1980) and György Ligeti in Hamburg (1982-1984). From 1980-1982\, Daugherty was also an assistant to jazz arranger Gil Evans in New York.  \n\n\n\nAfter teaching from 1986 to 1991 at the Oberlin Conservatory of Music in Oberlin\, Ohio\, Daugherty became Professor of Composition at the University of Michigan School of Music\, Theatre and Dance in Ann Arbor\, Michigan\, where he is a mentor to many of today’s most talented young composers. Valley of the Moon for Orchestra was commissioned by the Santa Rosa Symphony\, Francesco Lecce-Chong\, Music Director and Conductor. The composer\, who has provided his own program notes\, writes:“When visiting Santa Rosa in 2021\, I spent several days driving the backroads of Sonoma County to experience the majestic redwood forests\, the glorious coast of the Pacific Ocean\, the Jack London State Historic Park in Glen Ellen and the coastal village of Bodega Bay where Alfred Hitchcock filmed The Birds (1963). This road trip became the inspiration for Valley of the Moon\, a 30-minute musical composition in four movements: \n\n\n\nI.    Out of the FogII.   Shadow of the BirdsIII.  Air on the RedwoodsIV.  Call of the Wild“In movements one and three\, I create a lush and complex symphonic soundscape\, exploring how music can enhance our appreciation of the natural world. ‘Out of the Fog’ is inspired by watching the fog slowly roll off the Pacific Ocean\, as it brings much-needed moisture to valleys of agricultural fields and lush forests. ‘Air on the Redwoods’ is a bittersweet ballad to the giant redwood trees\, nearly logged into extinction in the 20th century. These ancient trees are hundreds\, even thousands\, of years older than Bach’s ‘Air on the G String’ (1731)\, which occasionally whispers through the branches of this movement.   \n\n\n\n“In movements two and four\, I create foreboding music warning us of the growing fragility of an endangered ecosystem. ‘Shadow of the Birds’ is a chilling musical homage to Hitchcock’s film The Birds\, where nature has gone amok as thousands of birds descend on Bodega Bay and relentlessly attack the residents. ‘Call of the Wild’ borrows a phrase from American author Jack London (1876-1916)\, who lived and farmed in Sonoma Valley. He was an early advocate for sustainable living to preserve the natural world. Perhaps\, if we listen to the ‘call\,’ there is still hope.” \n\n\n\n\n\n© Elizabeth Schwartz  URL:https://www.srsymphony.org/event/valley-of-the-moon/ CATEGORIES:Classical Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20210628T221219Z LAST-MODIFIED:20240119T222315Z UID:24878-1705536000-1705536000@www.srsymphony.org SUMMARY:Hotel California DESCRIPTION:Pre Concert Talk\n\n\n\nJoin Principal Pops Conductor Michael Berkowitz one hour prior to every concert for a discussion of the afternoon’s concert\, along with personal anecdotes and memories from his storied career working on Broadway and with Liza Minelli\, Henry Mancini\, and Marvin Hamlisch among many others. \n\n\n\nInformation on lbc’s covid policies per CA state guidelines\n\n\n\nHow To Purchase Tickets For The Pops!\n\n\n\nAlthough the Santa Rosa Symphony is performing\, the Luther Burbank Center for the Arts is selling the tickets for this concert. \n\n\n\nTo purchase tickets\, click here.LBC Box office: (707) 546-3600Tues – Sat\, 10am – 6pm  |  closed Sunday and Monday(Open 2 hours before performances on Sundays and Mondays)  \n\n\n\nThere are no program notes available for this concert. \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels URL:https://www.srsymphony.org/event/hotel-california/ CATEGORIES:Pops Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20210628T220147Z LAST-MODIFIED:20240119T222206Z UID:24877-1705536000-1705536000@www.srsymphony.org SUMMARY:Return to a Galaxy Far\, Far Away DESCRIPTION: Pre Concert Talk\n\n\n\nJoin Principal Pops Conductor Michael Berkowitz one hour prior to every concert for a discussion of the afternoon’s concert\, along with personal anecdotes and memories from his storied career working on Broadway and with Liza Minelli\, Henry Mancini\, and Marvin Hamlisch among many others. \n\n\n\n \n\n\n\nInformation on LBC’s Covid Policies per Ca State Guidelines\n\n\n\nHow to Purchase Tickets for The Pops!\n\n\n\nAlthough the Santa Rosa Symphony is performing\, the Luther Burbank Center for the Arts is selling the tickets for this concert. \n\n\n\nTo purchase tickets\, click here.LBC Box office: (707) 546-3600Tues – Sat\, 10am – 6pm  |  closed Sunday and Monday(Open 2 hours before performances on Sundays and Mondays) \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\n\n\n\n\nThis performance generously made possible by\n\n\n\nThe Heck FoundationThe Alan and Susan Seidenfeld Charitable Trust  URL:https://www.srsymphony.org/event/return-to-a-galaxy-far-far-away/ CATEGORIES:Pops Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20210628T214941Z LAST-MODIFIED:20240119T222230Z UID:24876-1705536000-1705536000@www.srsymphony.org SUMMARY:Holly Jolly Pops DESCRIPTION:Pre Concert Talk\n\n\n\nJoin Principal Pops Conductor Michael Berkowitz one hour prior to every concert for a discussion of the afternoon’s concert\, along with personal anecdotes and memories from his storied career working on Broadway and with Liza Minelli\, Henry Mancini\, and Marvin Hamlisch among many others. \n\n\n\nInformation on LBC’s Covid Policies per CA State Guidelines \n\n\n\nHow to Purchase Tickets for The Pops!\n\n\n\nAlthough the Santa Rosa Symphony is performing\, the Luther Burbank Center for the Arts is selling the tickets for this concert. \n\n\n\nTo purchase tickets\, click here.LBC Box office: (707) 546-3600Tues – Sat\, 10am – 6pm  |  closed Sunday and Monday(Open 2 hours before performances on Sundays and Mondays)  \n\n\n\nThere are no program notes available for this concert. \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels URL:https://www.srsymphony.org/event/holly-jolly-pops/ CATEGORIES:Pops Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20260425T091825 CREATED:20210628T213924Z LAST-MODIFIED:20240119T195341Z UID:24875-1705536000-1705536000@www.srsymphony.org SUMMARY:Fiedler's Favorites DESCRIPTION:About the Concert\n\n\n\nThe Santa Rosa Pops celebrates the tradition started by the Boston Pops with its exciting and accessible mix of light classics and popular hits made famous by the incomparable Arthur Fiedler! This festive tribute features pianist Bill Cunliffe playing George Gershwin’s iconic “Rhapsody in Blue\,” Marvin Hamlisch’s “Music and the Mirror” and a jazz piano feature with Maestro Michael Berkowitz on drums. Also\, Santa Rosa’s own Mark Wardlaw will be featured playing a “Tribute to Benny Goodman\,” originally written for the Boston Pops. Enjoy this homage to Arthur Fiedler\, iconic former conductor of the Boston Pops. Celebrating the 50 years of Fiedler on the Podium\, the concert features delectable bites of musical joy: “Seventy-Six Trombones\,” “Jalousie\,” Leroy Anderson’s” The Typewriter\,” “Strike Up the Band\,”” Love Is A Many Splendored Thing\,” excerpts from Bizet’s “Carmen” and “Mambo” from West Side Story and more. \n\n\n\nArthur Fiedler began his career with the Boston Pops in 1915 as a violinist. After filling in as conductor for four years\, he officially became the first American-born conductor to lead the orchestra in 1930. on July 4\, 1929\, Fiedler inaugurated a series of concerts that continues to this day. He made his mark on the Boston Pops by programming the kind of music that was then known as “symphonic jazz\,” compiling an enormous collection of marches\, overtures\, suites\, symphonies\, rhapsodies\, show tunes and novelty songs. In addition\, he showcased the work of young American composers and arrangers\, and featured young American soloists. \n\n\n\nPre-Concert Talk\n\n\n\nJoin Principal Pops Conductor Michael Berkowitz one hour prior to every concert for a discussion of the afternoon’s concert\, along with personal anecdotes and memories from his storied career working on Broadway and with Liza Minelli\, Henry Mancini\, and Marvin Hamlisch among many others. \n\n\n\nInformation on LBCs COVID Policies Per CA State Guidelines\n\n\n\nHow To Purchase Tickets For The Pops!\n\n\n\nAlthough the Santa Rosa Symphony is performing\, the Luther Burbank Center for the Arts is selling the tickets for this concert. \n\n\n\nTo purchase tickets\, click here.LBC Box office: (707) 546-3600Tues – Sat\, 10am – 6pm  |  closed Sunday and Monday(Open 2 hours before performances on Sundays and Mondays) \n\n\n\n\n\n\n\nThis performance generously made possible by\n\n\n\nGordon BlumenfeldThere are no program notes available for this concert. URL:https://www.srsymphony.org/event/fiedleraes-favorites/ CATEGORIES:Pops Series END:VEVENT END:VCALENDAR